Back catalogue: All genres

Review: Released by a Kyiv-based label run by Noizar, this EP serves up a potent mix of minimal and tech house with futuristic flair. On Side-A, 'Ease Your Mind' by Borys offers a mesmerising minimal groove, blending techy, robotic beats with funky, spacey elements. The track's otherworldly vibe creates a hypnotic atmosphere, perfect for both laid-back and deep dancefloor moments. On Side B, 'Los Demeteros"' by Yzer is a heavy stomper, featuring a crunchy bassline that drives the track forward. The eerie, alien melodies lend an unsettling, yet quality to the track, making it feel both futuristic and rooted in the past. The dynamic composition of 'Los Demeteros' draws listeners into its depth, while maintaining a solid, danceable energy throughout. This release is a stunning journey through minimal and electro-techno, showcasing the unique sound of Kyiv's underground scene.

Review: UK dub artist, singer, producer and self-taught musician Prince Jamo delivers a wonderfully heartfelt vocal on this new track, which means it cannot help but inspire resilience and notions of never giving up. Recorded during the COVID era, the song rides a live roots riddim crafted by the Zulu Vibes riddim section and expertly mixed by Zulu Vibes to embody a fresh Roots & Culture 2025 vibe. This record blends its soulful messages and authentic live instrumentation to tap right into the true-school and make it perfect for anyone seeking uplifting roots reggae with a classic touch.

Review: The third volume in the Insense Music compilation series, Insense Music for Dining Room, deepens its exploration of ambient, jazz, chill-out and Balearic sounds, all of which are perfect for serene dining moments. Curated by Tohru Hashimoto with artwork by Jiro Fujita and mastering by Calm, who a key figure in Japan's music scene as well as a renowned Balearic boss, this 7" release shines from the off: side A features Yakenohara's subtle, exclusive take on Bill Evans's 'Peace Piece' which blends his genre-fluid skills as rapper, DJ and producer. Side B offers Noa Noa's warm tribute to Bobby Hutcherson's 'Montara,' a hip-hop sampling favourite. The release precedes a full compilation dropping this May.

Review: Japanese singer/songwriter/producer Tatsuro Yamashita's latest marks a bold step forward in his ongoing evolution as a musical force, most specifically as a pioneer of the 'city pop' sound. Far from his earlier, more polished pop sensibilities, this release delves into the subtle interplay between soul, jazz and funk, wrapped in lush, sophisticated production. Tracks like 'High Pressure Girl' and 'Merry-Go-Round' reveal a deeper emotional core, where complex arrangements meet timeless melodies. Yamashita's expert use of space and texture pulls you into a world that feels both intimate and expansive, drawing on influences that span from the silky smoothness of 70s soul to the warm grooves of early 80s pop. The work pulses with a sense of nostalgia, yet feels forward-thinking, a bridge between past and present. What stands out here is the transparency of Yamashita's approach to songwritingieach note feels carefully considered and every shift in rhythm deliberate. Tracks like 'Christmas Eve' and 'In the City' carry an understated elegance, as if time itself has slowed down to match the pace of the music. The compositions shift between bright, shimmering highs and deep, reflective lows, creating a dynamic yet cohesive listening experience. The idea is clear: it offers a glimpse into Yamashita's artistry while inviting us to engage with his creative process, blending analog warmth with intricate production techniques that resonate with emotional depth and maintain striking sonic clarity.

Review: Originally released in 1982, Upstairs At Eric's marked the arrival of a duo as timeless as they were era defining, capable of capturing the very essence of an emerging, tech-driven music scene while also writing tracks that still sound incredible today. Many of which have been repurposed, sampled and remixed to the ends of the Earth and we're still not bored. Produced by the two band members, Alison Moyet and Vince Clarke, alongside Daniel Miller, boss of Mute Records, the legendary British label that first carried this, we shouldn't need to namedrop tracks here - Upstairs At Eric's is, frankly, the landmark synth-pop record. Just in case, though, think 'Don't Go', 'Goodbye 70s', and 'Only You'. And that's before we get into the lesser radio-played gems.

Review: Yesterday's Children, a short-lived yet impactful psychedelic rock band from Cheshire-Prospect, Connecticut, carved a niche in the late 60s with their unique blend of garage rock and proto-heavy metal. Formed in 1966, the band's aggressive sound, underpinned by Denis Croce's high-pitched wails and fuzz-toned guitars, made them early contenders in the heavier end of the psych spectrum. Their self-titled 1970 LP i featuring tracks like the bludgeoning opener 'Paranoia', the slow-burning 'What of I' and the swinging, Cream-adjacent 'Sailing' i is now considered a cult classic. Despite poor commercial traction at the time, it captures a pivotal moment between the collapse of flower power and the rise of hard rock. First reissued in 2004 by Akarma, it's since been reclaimed as a forgotten milestone in US acid rock, its eight-track run unusually focused but also quite, quite feral.

Review: Yeule (Nat Cmiel) is something of a sonic scrapyard varmint, scouring the lost wastes for augmentable audio parts perhaps useable in their madcap experiments. An avant-garde spin doctor of ash-faced, death-ray-desert-bomb glitch-pop, they've kept their place at the knife-edge of innovation, blending genres and non-genres at the violent vanguard where sounds remain in constant, slipped flux. In the lineage of Machine Girl, ecolagbohrsac2021 or Hakushi Hasegawa, 2022's Glitch Princess laid nutritious ground for Cmiel's now evermore fractious work, Evangelic Girl Is A Gun, which hears the somewhat alter-egoic Yeule now delve into the complexity of a fragmented identity, embracing the duality of light and shadow while echoing surreal animes, such as Serial Experiments Lain and Angel Egg. The LP reimagines Yeule as a haunting figure, exploring ego deaths and transformations in partnership with visual artist Vasso Vu.

Review: Non-binary performance artist Nat Cmiel from Singapore, often also known as yeule, continues to push the boundaries of glitch-pop and alt-electronica with their latest release. After solidifying their reputation as a trailblazer with their sophomore album Glitch Princess and its follow-up softscars, Cmiel takes a more daring, raw approach here. It's a cathartic exploration of self-destruction, trapped identities and the dark undercurrents of post-modernity, where Cmiel's ethereal vocals intertwine with dissonant beats, creating a paradox of beauty and tension.The sprawling atmospherics of 'Tequila Coma' and '1967' unfurl into a liquid haze, giving way to the razor-edged urgency of 'VV' and 'Dudu', which channel a palpable, jittery rhythm that commands attention. Collaborating with the likes of A.G. Cook and Mura Masa, the album navigates between haunting introspection and electrifying energy. It's a striking nod to Cmiel's ability to balance vulnerability and sonic experimentation, presenting a portrait of the artist struggling with the very image they've built.