New releases last four weeks: All genres

Review: Soiree hands over its next 12" to a pair of artists who take care of one side each. Drivetrain goes first with 'The Moonlight' which is a moon-lit jaunt through a futuristic city scope with broken beats and neon chords. 'Moonlight & You' carries over similar melodies with steely drums and vocal harmonies, and then G-Prod steps up with 'Moonlight' which brings a more stripped back and dark groove run through with acid menace. Last of all is David Duriez with his Floating Light mix of the same cut and it's a dreamy deep house roller for cosy basements.

Review: Jonny Drop working with Andre Ashong is not a collab you might have seen coming, but it is one you will be glad has happened. Puzzle Dust is reportedly an album that was four years in the making and it comes on a lovely blue slab of vinyl. Musically it is a work that fuses soul and psychedelia with stripped-back broken beats, dusty drums and lo-fi rhythms peppered with earthy percussion. At times sunny and upbeat, at others stoned and horizontal, Ashong's hazy vocals colour the tracks with his signature smoky soul. A fantastic coming together of two diverse but quality artists.

Review: Befitting of the label's name, Drumsauw aka. Joseph Sutherland keeps to the Code with a fresh three-tracker of megatechno heaters. Starting things off with the entraining but no less driving dreamer 'Focus', we're met with riveting sixteenthy knocks and dour breakdowns, a formula devoutly followed throughout; the B offers up two further alarmist pummellings of the third kind, with 'Set Back' repeatedly jabbing the podiatric floor with pressurised weight-kicks and offhand "push it" voxxes, and 'Escape' continuing to sound said alarm while insisting that we "escape" the laboratory, now quarantined to sift out those hesitant to dance.

Review: The more time that goes on, the more every Dub Syndicate album becomes more appreciated. At the end of the 90s, dub music was at an all-time low popularity wise - the genre was going through changes and vinyl sales were dwindling. In 1997, Style Scott even started his own label Lion And Roots away from On-U Sound which had been the home of Dub Syndicate since they started almost 20 years prior. Mellow & Colly shows the group moving away from the more sample heavy earlier works to a mature dub sound that incorporated more electronics thanks to the Echo Beach label partnership that Style's label worked out. Sadly, Style passed away ten years ago this year but his music is still being felt thanks to reissues like this.

Review: Dubfire's EVOLV presents two captivating techno remixes that showcase the distinct styles of renowned artists. Carl Craig's 'Descent' remix unfolds as a gradual builder, echoing his signature style. An underlying acid line intertwines with a soaring melody, incorporating elements of house music. Conversely, LB Dub Corp's 'Dark Matter' remix plunges into a percussive techno realm, its peak-time intensity bringing melodic depth and creating an immersive and dynamic journey.

Review: The Cold Diggin label out of Dresden has long been serving up the work of The Duke Ya Love To Hate, which is one of myriad aliases of an artist who gets by the name of Stefan Senf. They are generally few and far between but are always worth copying when they do drop and this one comes on lovely hand-numbered 7" in a special screen-printed sleeve. 'Introducin' is a loose-limbed funk workout with classic hip-hop breaks and free-wheeling pads. 'Prescribin' is more slow and seductive with its florid melodic leads and lovely lazy beats.

Review: Formed in the post-punk era of Manchester in 1978, The Durutti Column, led by guitarist Vini Reilly, has remained an enigmatic and influential force in the history of post-punk. Their 1989 release, aptly titled Vini Reilly, is a testament to Reilly's eclecticism and sonic experimentation. The album spans a vast musical landscape, encompassing elements of post-punk, rock, acoustic, avant-garde, jazz, classical, folk, pop, and electronica.The album's 35th anniversary reissue box set includes many great additions that allows listeners to appreciate the enduring impact of his artistry, as he continues to inspire and challenge music enthusiasts worldwide. Includes new essay by Durutti Column/Factory Records expert James Nice, liner notes by band member Bruce Mitchell, liner notes from Anthony Wilson, interview extracts with Vini Reilly and restored images and outtake images.

Review: The long-gestating follow up to 1992's initial instalment, Black Aria II would finally arrive in 2006 after years of discussion from Misfits/Samhain horror-punk visionary Glenn Danzig, and further his exploration into the cavernous realms of modern classical dark ambience. Conceptually based around Lillith, the first wife of Adam, the material here is far more minimalist and starker than its gothic predecessor, while utilising a more varied array of instruments on top of the pre-established organ and strings, with more Eastern sonic influences to conjure a mercurial vision independent of the preceding volume. Complete with eerie chimes, chants and esoteric lamentations, the project marks one of Danzig's most intriguing works when compared to, say, his Elvis covers compilations, and offers a transportive, biblical, haunting narrative delivered almost exclusively via instrumental atmospherics and insidious gloom.

Review: Matt and Lee join forces with Grammy Award-winning Terry Hunter to unleash a soulful house masterpiece here on Sonic Wax. Their superb collaboration results in a track that exudes pure musical bliss and captivates heart, body and mind with its irresistible grooves and smooth synths. Additionally, Matt and Lee showcase their prowess with a killer Masters At Work-inspired soulful house mix which adds their own unique touch to the genre. Jazz Apple contributes a remarkable Mario Biondi-style jazz mix, perfectly tailored for the jazz and Northern Soul market, and together, these artists deliver a diverse collection of mixes that will undoubtedly make their mark.

Notes: EarthQuaker Devices proudly present to you the new and improved Spatial Delivery V3 Envelope Filter!

EarthQuaker Devices took the already cosmic, original Spatial Delivery and added six available preset slots for you to store your preferred settings - whether they be dissonant sweeps, rhythmic auto wah frequencies, oscillating robot gibberish or honestly whatever filtered frequency fun you want.

Even the expression jack assignment can be saved and recalled in any of the slots so that the signature sounds you dial in are readily available with a quick tap of the switch.

Save your settings confidently on the go thanks to the two modes indicated by the LED Save/Recall switch. Green means you're in Live Mode so what you see is what you get; current control settings will be what you hear. Red means you are in Preset Mode, where your selected pre-saved setting will be what's taking the journey through your amp.

You didn't think this pedal could get any better, and then, bam!

And of course, for all of you Spatial Delivery diehards, all the familiar features of the original are still in place. This baby has three modes with the switchable Up Sweep, Down Sweep, and Sample and Hold functions, along with Range, Resonance and Filter controls.

Get some wild filter sweeps with the Up and Down modes and adjust the Range to control the sensitivity and reaction time of the envelope, which alters the width of the frequency sweep. The higher the Range and harder the attack equals a faster reaction time and higher frequency sweep and vice versa. But again, you're a smart player, you get this stuff.

In the Sample and Hold mode, the filter is controlled by random voltage and the Range controls the speed. The filter can be crossfaded between high pass (counterclockwise), band pass (center) and low pass (clockwise) for a wide variety of voices. The Resonance control goes from zero to the brink of oscillation and adds more body and ring to the filter voice.

Due to its envelope control, it is recommend that you place the Spatial Delivery first in your signal chain, however, experimenting with pairing and signal chain placement can take the potential of the Spatial Delivery even further. How far will you take it? Only time will tell.

Each Spatial Delivery pedal is handmade in Akron, Ohio, USA and is hand delivered... espatially for you.

Review: Few labels do minimal as well as Trelik and in terms of artists, Edward is also as good as they come right now. This perfect pairing opens up with the deeply alluring 'Time' with its woozy pads and smeared chords over warm and rubbery drums. It's a hypnagogic affair then 'Vacuum Tube' has a more menacing air thanks to the wispy and unsettling synth details and clunky hooks. 'Watch Out' brings a more spangled and rubbery rhythm that has colourful details peeling off the beats and last of all, 'Stream' ups the ante with some thudding deep house and widescreen ambient synth work.

Notes: Egostrip Book 1 is a beautifully designed collection of Dan Lish’s stunning character illustrations from the world of hip hop and beyond. There are 138 illustrations of pioneering artists from hip hop’s golden era, such as De La Soul, Madlib, DJ Premier, Mobb Deep, Nas, Cypress Hill, J.Period, J Dilla, Kool Keith, MF DOOM, The Roots, Biggie Smalls, A Tribe Called Quest, Biz Markie and The Beastie Boys.

The book is 27.2cm x 29.4cm, and the 160 pages are printed and bound on heavyweight 130gsm paper with a hardback cover. It’s also available as a limited edition 20cm square art print (see left for design).

Review: The legendary experimental German band Einsturzende Neubauten is back with their first album since 2020, Rampen (apm: alien pop music). Since their formation in 1980, the band his sought out to blaze their own trail in making what others would assume is noise into their own brand music. Their own music language was created and brought with them legions of followers that have added a bit of Einsturzende Neubauten's influence to their own sounds. The band has once again pushed their sound even further - alien pop music. This edition comes on yellow vinyl.

Review: Einsturzende Neubauten's description by label Potomoak - as a band that constantly evolves - is accurate enough. Over forty years on from their debut album Kollaps in 1981, Rampen appears as the latest and most unruly incarnation of their sound yet. Here, Blixa Bargeld, N. U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser and Felix Gebhard present their least predictable and conventional sides: APM is described as alien pop music; the songs therein have been specially crafted not only for our universe but for every adjacent parallel universe to ours, with every slight multiversal variation in humanity's collective tastes held firmly in mind. The album fully lives up to its billing as anti-pop as alien pop, its challenging twists and turns fully sating the difficult whims of society's outcasts and cosmic punks.

Review: Industrial music formed amidst the concrete decay of post-war Berlin, Einsturzende Neubauten emerged as pioneers of genre. Their sonic alchemy fuses unconventional instruments crafted from scrap metal and construction tools with traditional ones, creating a raw and unsettling symphony. Their new double album "Rampen (APM: Alien Pop Music)" showcases their sonic prowess. Despite the abrasiveness of their sound, the group's music is imbued with a sense of theatricality. Blixa Bargeld's stoic vocals narrate surreal tales of urban decay and existential unease, while the band's live performances evoke industrial rituals. Over the years, the band's music has evolved, incorporating elements of ambient and even pop into their sound. Yet, their core ethos remains intact: to challenge musical boundaries and create a sonic tapestry that reflects the harsh realities of the modern world. This album still helps cement the band moving forward but still respecting their past.

Review: Keyboardist Stale Storlokken leads the trio through six stellar compositions, showcasing hypnotic, magical, and razor-sharp polyrhythms. The album - the follow up to their acclaimed album Arrival of The New Elders - maintains the band's signature groovy mix of high-energy rock and power jazz while incorporating more structure and reflection and displaying a more diverse and mature approach. Recorded and mixed by producer Mattias Glava, Mythical River solidifies Elephant9's position as a contemporary, timeless and futuristic band.

Review: Elephant9: previous album, Arrival of The New Elders, showcased a diverse and contemplative side of the trio while maintaining their signature grooves and adopting a more structured approach. The album received widespread acclaim for its seamless collaborative qualities. New record Mythical River follows in the same vein, featuring six stellar compositions by keyboard virtuoso Stale Storlokken and complemented by cosmic interludes. From hypnotic enchantment to precise polyrhythms, the album showcases the trio's continued excellence while drawing comparisons to bands from the 60s, although Elephant9's sound remains contemporary, timeless and even futuristic.

Review: Eloi (Eloi Chazelas), a producer based in Paris, France, has released his latest work on the German label LTDBLBL. This 13th release showcases Eloi's mastery of deep house and jazz influences. 'The Great Delusion' sets the tone with its soulful touch and jazzy undertones. 'Foundation's Edge' delves deeper into jazz territory, featuring evocative horn samples. Side two opens with 'A Perfect Misconception,' a perfect blend of house and disco. Finally, 'I Hope It Ends Well' exudes a laid-back cafe house vibe with its jazzy nuances. Through this release, Chazelas demonstrates his versatility and ability to create music that both captivates and soothes. This kind of house music is great for day or night and for a bar or club.

Review: Seclusion debuts with its first vinyl release here and it decides to use the opportunity to showcase four remixes from three different techno titans. UK favourite Ben Sims goes first with his turbocharged take on Elyas/Anta's 'Real 13130 G's' and then Elyas offers the first two remixes. His version of Geto Mark and DJ Deeon's 'In This House' is seriously heavy, with rock solid kicks and muted acid spraying about them, then he remixes Player's 'Player Three' into a funked up and loopy house banger for the peak time. Mark Broom is the last to remix and goes for a fusion of smeared Detroit-style synth soul over hefty techno drums.

Review: Souvenirs is the first vocal album from Ethiopian nun, composer and pianist Emahoy Tsege Mariam Gebru. It was recorded between 1977 and 1985 in a lo-fi setup in her family home in Addis Ababa shortly before she was exiled to Jerusalem. Playing the piano and singing through a boom box, Gebru captured the solemn mood of the time as she faced the prospect of leaving her homeland to escape the upheaval brought about the 1974 revolution in Ethiopia. Her playing fuses Western classical with Ethiopian traditional and Orthodox music, while her Amharic lyrics touch on the tumultuous situation she found herself in, in profoundly poetic ways. The accompanying 16-page booklet offers translations of these words, so the message can land for listeners beyond the powerful impact of the recordings themselves.

Review: Cyphon Recordings celebrates its tenth release with Emotive Technology, a new project by Chilean artist Massiande. The five-track EP offers soul-stirring techno spanning various styles. Despite being his debut under this alias, Massiande boasts a decade-long career, releasing music on esteemed labels like Housewax and Phonica. The EP kicks off with 'Rise,' a fusion of new beat and arp-operated techno, setting the stage for peak-time euphoria. Tracks like 'It's On' and 'Your Zone' dive deeper into hypnotic rhythms, while 'Walk Into The Light' pays homage to Detroit's techno legacy. Closing with 'The Swing,' the EP captivates with its resonating synths and pulsating basslines, embodying machine music with soulful depth.

Review: The Energy Exchange family is one of love and shared creation and so this fourth 12" outing sees them invite the in-house production team and extended crew from the 30/70 collective all remix and rework each other. The sounds are drenched in soul and passion and use house music as a framework to explore happy vibes for the dance floor. A Maytra Roller edit kicks off with some lush broken beats and empowering vocals, then Close Counters remixes 'Brighter Star' with piano-laced energy. Elsewhere is the sublime seven-minute opus from Zeitgeist/Goodmood Sex & Candy who flip 'Acceptance' into a gloriously passionate house classic.

Review: Leeds indie stars English Teacher serve up a fantastic debut album here with 'This Could Be Texas'. Preceding hits 'The World's Biggest Paving Slab', 'Nearly Daffodils' and 'Mastermind Specialism' have all topped BBC 6 Music playlists and helped build the band quite the following. Their rise continued to soar after they appeared on Later With...Jools Holland, and they have since played a sold-out UK and US tour. Lead singer Lily Fontaine's vision for the album was "an odyssey to space, revealing Doncaster's likeness. It's about navigating in-betweens, cherishing home, and tracing Desire Paths." Fontaine reflects on being mixed-race in post-Brexit several times throughout the album and it comes here on lovely green vinyl.

Review: The self-titled debut record from South Carolina soul septet The Entertainers first dropped in 1980 and laid claim to a distinctive quirkiness. The kernel of the album's success was its unabashed choice of subject matter - sexual attraction - which when combined with its bright mixes and burstingly clear compositions, helped propel the band out from their local beach scene roots and into increasing interstate acclaim. With members Earl Dawkins on vocals, Hugh "Tuff" Blanton on bass, Richard Robertson on trumpet andzz flugelhorn, Ric Sanders on keyboards, Danny Baker on guitar, Marc Goins on drums and John Franklin on trombone, the Entertainers did nothing but.

Review: The Ethiopian Brothers transport you to a vibrant fusion world where Ethiopian jazz, Afro drums and funk all collide. Released in 1972, this single showcases the band's mastery of traditional Ethiopian rhythms intertwined with elements of Western funk and soul. 'Ashadwa' exudes infectious energy and is driven by lively brass sections and mesmerizing vocals weaved into the dynamic arrangements next to wah way guitars and steamy sax. It is a real dancefloor heater while a version comes on the flip without the vocals.

Review: Waveforms is as a brand-new label from ASC and Presha who are already well known and respected for their work with Spatial/Auxiliary and Samurai Music. It's a new outlet that will specially tap into the sounds of 90s jungle and serve up new tunes on 10". Tim Reaper has been behind one, and Eusebeia is now on this one on blue-marbled vinyl. A-side cut 'Waveform 05' is a cavernous cut with pulsing bass and spine chillingly ethereal vocals up top while 'Waveform 06' keeps the pressure on with more throwback jungle realness and unrelenting breakbeat pressure.

Review: BQD Trax's 404th EP pairs two veterans off on the same 12". Phil Evans and Dana Ruh take one side each of this nice analogue offering. Evans goes first with 'In Time' which is coated in nice dusty pads and frayed medic edges with a grinding melody that brings some funk to the deepness. 'I'm Down' is another rugged deep house cut with loose kick patterns and swirling pads. Ruh then brings her signature smoky basement house sounds to 'S41' with its rickety percussion and warm infusing of supple synths. 'S45' shuts down with dubbed-out drums and molten chords that serve as a perfect early evening warm-up.

Review: A third album of wonderfully intimate, idiosyncratic songwriting from multi-instrumentalist Stephen Gilchrist - formerly the Stuffy in the much loved Stuffy & The Fuses - in his Stephen EvEns guise. The name may be singular, but from the choir of voices singing the opening tune 'A Song For Europe' to the child's voice at the end of seafaring epic 'Hello Salty Salty', this is very much a community effort and feels like it, with Stephen's core collaborators Jimi Scandal (guitar) and Crompton Whesp (drums) joined by guests like former Curve/Echobelly bassist Debbie Smith, longtime Cardiacs keyboard player William D Drake and Hurtling/My Bloody Valentine guitarist and keyboard player Jen Macro. The mood palate is on just as grand a scale as the personnel list, from the Nick Drake-style acoustic guitar/strings interplay of 'Firefly' to the beefy hip-hop backbeat of 'BBQ Head & 7 Bells', a two part track, the first half dedicated to the joys of cooking in the garden, the second about paranoia and the threat of violence. Elements of psychedelia, some gorgeous analogue synth tones, a penchant for a quirky time signature and/or arrangement all add to what's already a very tasty concoction that anyone with an ear for a tenacious earworm or two will love.

Review: Robert Witschakowski has been a man on an electro mission (as well as many other side mission, to be really quite honest) for as long as we can remember. His furtherment of electro knows no bounds and it has often come in association with Dutch label Clone and its offshoots, though here he has his They Arrive EP reissued by fellow Dutch label Creme Organization. It landed first back in 2011 but has aged like fine wine and sounds as good as ever - there are a mix of creepy and atmospheric pieces, sick dancefloor rhythms and plenty more to enjoy here.

Review: Exos' latest EP is a heavy, beat-laden techno record with three distinct tracks. The title track 'Infrared', opens with a crushing beat and fast percussion. It's a dynamic and powerful track with a strong build up and a devastating, menacing sound. The second track, 'Kaldur Klaki,' is a loopy, hard and fast, percussive, tribal track. It's a peak time track with an organic, drummy sound. The third track, 'The Bad', is a 90s German style track with a cool beat and a storming sound. Overall, 'Infrared' is a strong techno EP with three tracks that are sure to get you moving.

Review: Since signing The Exploited in 2021, iconic metal/punk label Nuclear Blast have gone to lengths to reissue the three latest albums from the legendary Edinburgh oi-punks, who by the arrival of 1987's Death Before Dishonour, had moved towards an even more aggressive form of crossover thrash hardcore. This direction would continue to be pursued throughout their 90s output, with The Massacre in 1990, Beat The Bastards in 1996 and most recently (although 21 years and counting currently) 2003's vicious statement of latter-day intent Fuck The System. Coming seven years after its predecessor as well as marking the band's seventh overall full-length, it's the only album to date to feature guitarist Robbie Davidson and bassist Mikie Jacobs, while the project and its subsequent tour cycle would be marred in controversy due to the band being refused entry into Montreal, Canada in October 2003. This led to the cancellation of the show and a full scale riot of 500 fans smashing windows and destroying cars, ultimately leading to their Mexico City date also being cancelled for safety reasons. Is it really shocking to imagine that's how The Exploited's fans would react when they felt that burned? Juno don't condone, we're just not that surprised.

Review: With the arrival of 1987's Death Before Dishonour, Edinburgh punk legends The Exploited began to distance themselves from their pre-established oi/street punk demeanour, and move towards a far heavier, speed metal-inflected crossover thrash style of hardcore punk; a direction they would continue to pursue throughout the 90s. Following a six-year gap after 1990's The Massacre, 1996 would see the group return with easily the best LP from their latter-day output, Beat The Bastards. Packed to the brim with seething, feral bangers such as 'Law Tor The Rich', 'System Fucked Up', and 'Massacre Of Innocents', this new splattered vinyl double LP pressing comes courtesy of the wonderful folks over at Nuclear Blast who've worked to beautifully restore and reissue the band's heaviest final three albums ever since signing them back in 2021.

Review: Budapest's Dalmata Daniel rewire the electro efforts of Timothy K. Fairplay for their ninth 12", which also includes a B-side icing by none other than fellow producer Norwell. These four retrofuturist cosmopolitan jams are heard divided between the two artists, and do well to flaunt the specific valences of their production styles, which, while doing well to stick to the cosmic aesthetic, cannot help but betray unconscious stylistic hallmarks. Fairplay's is as tweezy and kick-phat as ever, with 'Caliber 9' being the obvious choice as the sonic equivalent of a 70s infographic on telecoms gone haywire. Norwell's take on the vibe is breaksier and more muted, with closing number 'Natives' being the cut of choice, burbling in a vat of liquid acid and emotive smoke.

Review: After more than two decades at the bleeding edge of German techno, Len Faki broke through to the album artist realm with 2023's knockout long player Fusion. Since then he's been exploring the depth, breadth and hidden potential of his tracks with extensive remix commissions, which continue apace with this heavyweight double pack. There are premier league billings such as Luke Slater, Ploy and Modeselektor appearing alongside urgent underground talent like Hardspace, Beste Hira and Amotik, all bringing additional angles to the thunderous impact of Len Faki's signature sound, whether it's psychotropic breakbeat or anthemic, melodic techno you're in search of.

Review: Alternative icons The Fall were of the most out-there acts of their generation, if not any generation. Now, all new on Bella Union is Stales Live on 10" and CD. Conceived by former Slates-era members of The Fall, it offers live versions of the 1981 mini-LP's six tracks that capture the raw essence of their legendary live shows plus plenty more. With input from band members throughout sourcing, mastering, and design, this release is a long-awaited treat for Fall enthusiasts. Stewart Lee, a dedicated Fall fan, contributes sleeve notes and each song is meticulously curated to showcase its evolution onstage, making Slates Live a must-have for fans yearning for an authentic Fall experience.

Review: Billed as the most vital and sophisticated creation of their career yet, Fat White Family return with Forgiveness Is Yours. As if to reaffirm that forgiveness begins with forgiving oneself, the South London band's fourth album comes with limited fanfare (they hardly need it), perhaps owing to the fact that this is a record said to have pushed the band to "the limits of their very existence", entailing a consistent "will to create even when catastrophes keep happening". Forgive oneself for what, though? Torpor, apparently; from 'Bullet Of Dignity' to 'What's That You Say', this slick and suggestive indie album is a testament to finding the correct harmony in chaos, and waking up from our half-dazes to find an active truth.

Review: Federsen's Robot Says R EP is an atmospheric journey of deep techno, showcasing his prowess with minimal soundscapes. 'High Pressure' opens the 12' with its captivating crystalline textures and mid-tempo groove, capturing a nocturnal essence. 'Sono' takes a melodic turn, evoking the classic styling of Detroit techno, hypnotic and mesmerizing. On the B-side, 'Fazed' delivers an addictive bassline-heavy groove, while the minimalist approach creates a driving momentum. Closing the EP, 'Quadrata' incorporates elements of house music, developing gradually into a deep and evolving soundscape. With its multifaceted tracks, Federsen invites listeners to immerse themselves in its late-night techno ambiance. You can always count on Federsen for an excellent combination of blending a classic sound, well-produced techno, yet still being danceable and emotion provoking.

Review: Jamwax presents the resurrection of a hard-hitting space synth masterpiece, Winston Fergus' 'In Ting Sound'. Lyrically an impassioned plea to free Nelson Mandela around the time of his incarceration, the titular A-sider is notable for its undeniable fusion of the dub reggae sound with space disco and synth element, owing to its later recognition as a track that refuses to be constrained by the passage of time. Now reissued in full force, it comes replete with the original set of tunes it was recorded alongside, including the teeth-gritting jovial dancehall of 'Mandela', the digital underwater weirdness of 'Life All Over', and the versiony goodness of said track with 'Finnegan', an alternate vocal take of the B1. A curio that all heads must surely know.

Review: Soul vocalist and covers extraordinaire Vanessa Fernandez - in other worlds known as Vandetta - throws a curveball with Remember Me, seguing through a fabulous mix of R&B classics, including 'That's the Way of the World' (Earth Wind & Fire), 'Lovely Day' (Bill Withers), 'You're the One I Love' (Barry White), 'Kiss' (Prince), not to mention a smattering of contemporary pop and soul numbers numbers such as Lenny Kravitz's 'I Belong To You', Tom Misch's 'It Runs Through Me', and Portishead's 'Roads'. Proving a wide-ranging knowledge of soul music that is difficult to match (the genre is often subject to staid interpretations, remaining too fixed to certain traditions or places), Fernandez takes on an all-embracing approach to her chosen sound and in doing so enlists a diverse cast of instrumentalists to help her along the way: Tim Pierce (guitars), Alex Al (bass), Victor Indrizzo (drums), Jeff Babko (keyboards), Felipe Menolio (acoustic guitars), and Luis Conte (percussion).

Review: The mighty DFA label has always come at dance music from a rock and indie perspective and for that reason has always brought plenty of new ideas to the dancefloor. Fernando Pulichino has long been at the heart of the operation with his fusion of rock, funk, and electronic beats and here he is again with more of the same. 'I Got, She's Got' is a raw, energetic track, while the remix offers clarity and rich arpeggios. 'She's Playing With Fire' with saxophone by Gustavo Buchiniz, meanwhile, adds another explosive element meaning that all three tracks deliver pure club-ready firepower.

Review: Trail of Flowers by Sierra Ferrell is a captivating journey through the heart of folk and country music.. Ferrell's rich and emotive vocals shine brightly throughout the album, carrying the listener through tales of love, loss, and resilience. With a style that seamlessly blends traditional folk with classic country elements, Ferrell delivers a collection of songs that feel both timeless and contemporary. Each track is imbued with raw emotion and authenticity, drawing listeners into Ferrell's world with its vivid storytelling and heartfelt lyricism. The instrumentation is equally enchanting, featuring acoustic guitars, fiddles, and subtle yet expressive arrangements that perfectly complement Ferrell's vocals. The production maintains a warm and intimate atmosphere, allowing Ferrell's voice to take center stage while still capturing the nuances of each instrument. This album has been receiving widespread acclaim since being released and in our opinion, it's definitely warranted

Review: Fields Of The Nephilim, a UK goth band formed in 1984, made waves with their second studio album The Nephilim. Originally released in 1988, this goth masterpiece and reissued here in form set was released, featuring four bonus tracks for fans to enjoy. Known for their blend of hard rock, goth and psychedelic elements, led by vocalist Carl McCoy's growling, harsh voice adding a heavy edge to the music alongside Tony Pettit on bass, Peter Yates and Paul Wright on guitars and "Nod" Alexander Wright on drums, they create a powerhouse of sound on tracks like 'Chord of Souls' and epic seven minute opener 'Endemoniada'. The album debuted at an impressive number 12 on the UK album charts, solidifying Fields Of The Nephilim's status as pioneers in the goth rock genre along side contemporaries like Sisters of Mercy and The Mission.

Review: Lee delivers two powerhouse performances from his album Sentimental Fool. 'Two Jobs' channels the conviction of James Brown with Bobby Bland's swing, showcasing Lee's command and swagger. The track's deep piano intro and frantic shuffle captivate listeners with a sound few can replicate. On 'Save Your Tears for Someone New,' Lee delivers a masterclass in rhythm and soul, his ferociously soulful voice shining in this dark r&b ballad. With each note, Lee proves why he's considered one of the best soul singers alive, leaving listeners wanting more.

Review: Natacha Fink's 'Pirarublue' delivers a sexy lounge vibe with hints of jazz rock, characterised by its catchy rhythms and melodies, while on the flip Nimalan Yoganathan presents 'Unseen Songlines,' an ambient piece rich in field recording atmosphere and experimental textures. With its unique sounding hord structures and ample use of echo, this track transports listeners on an introspective journey through soundscapes. Overall, the EP showcases the label's commitment to showcasing eclectic and boundary-pushing music from emerging artists.

Review: Every new Carl Finlow record release brings an enthusiastic interest to those who follow him. Carl's robotic electro prowess is on full display on the A-side in 'Heed'. Fans of early 80s electro, Kraftwerk and the future of the genre, swear by this guy. 'Overlord' is a deeper groove that reminds of his otherworldly Silicon Scally moniker. 'Expansion' is just down right dirty. Nuff said! Dangerous stuff from one of the most consistent producers in futuristic electro.

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Review: Clap Hands, Here Comes Charlie! was recorded in 1961 on Verve, and it captures all-time jazz great Ella Fitzgerald as most people of the time got to hear her live, backed up by a quartet. There are some essential soulful standards included in this set such as 'A Night In Tunisia' and 'Cry Me A River', while the title track is a sprightly burst of swinging sunshine typical of the early bebop period. Faithfully transferred from analogue tapes and pressed to heavyweight vinyl, this is a fine document of Fitzgerald's immense talent and natural charisma in its rawest form.

Review: Two towering labels, Alternative Tentacles and Crispin Glover, break the mould for a momentary merger on this artistic collision of rogue planets: a new split reissued 7" housing that infamous syncretic, Patrick Fitzgerald, Motorpsycho and Jello Biafra, and their twin versions of Fitzgerald's original song 'Punch'. Fitzgerald is best known as a pioneer of folk punk, famously channelling his sardonic wit into a fleeting, light but somehow also epical sound. 'Punch' first surfaced in 2009 as a one-off single released under Crispin Glover's remit; it's now heard once more in both versions, tracking incendiary denunciations of politics on Fitzgerald's part, amid a suicidal, guitar-driven ascension into the air.

Review: Much-loved Berlin party wreckers Fjaak have got a brilliant new album on the way soon that traverses every conceivable style of beat and is sure to be of the year's best. But that hasn't stopped them also serving up this 11th EP of hand-stamped goodness on their own self-titled label. It kicks off with some searing acid madness on 'Redemption' then slips into a raw, rib-cracking techno stomper in the form of 'Hustle'. 'Mechanic Love' is pure old-school rave with oversized synth blasts that tickle your inner ear and last of all is a vocal tool, 'Unity' (feat Red Eye - acappella). Very useful indeed.

Review: Montreal outfit Flabbergast tap into something brilliantly leftfield on this new EP for Adams Bite. Opener 'Peppermint Poodle' is a grubby and bubbly minimal tech house cut that is defined by a characterful Northern voice speaking about a love interest and various other things. It's wonderfully weird and sure to get anthem status soon. 'Manger Du Bon Manger' is more languid and late night, 'Mou D'Etat' is a deep and zoned out cut with odd samples and trippy sound designs and 'Dans L'Oeil' rounds out with a synth laced cruiser for 5am wig outs.