Back catalogue:

Review: "Instead of escaping somewhere else, this time I want to be here." We're not 100% sure if that's Fabiano or E35 Netherlands quoted, and woe betide anyone who thinks they can interpret such cryptic (not to mention borrowed) quips without asking the person who said them what they meant. Nevertheless, Landmarks very quickly presents itself as an ambient beauty born of this planet and nowhere else. At times the sounds are challenging - heavily textured tracks rather than the lush dreamscapes we often associate with the rather reductive 'ambient' label. Sometimes things are quite eerie, like the disquiet that materialises around halfway through 'Flowers On The Hospital Grounds', and the dense static waves of 'Saturated Memory On A Rooftop'. At other moments, tones invoke the mystery of night skies over Earth, or the rhythm of a world filled with enough life to mean we're still finding new species today.

Review: Backdrops of engineered silence and societal distraction inform on this from Fatboi Sharif and Driveby, twin rap verbalisers from the hinterzones of New Jersey. Let Me Out confronts the fractured psyche of a world numbed by noise: a raw, unfiltered dispatch from the underbelly, where six-figure illusions swing pendularly over mirrored truths, and suppressed rage simmers beneath manufactured calm. Tracked at 2ndststudios and shaped by the precision of Steel Tipped Dove, the record is sharpened further by the eerie co-production of DJ Boogaveli on 'We Fought for this Country!?' and haunting backing vocals from Paul Keim on 'Krossroads'. From milk-and-oil confusion to the cracked prayers of trauma survivors, each track on this grittily sculpted noise rap record erodes our psychic Achilles' heels, through emotional debris and soul static.

Review: Flunk bids a beautiful farewell with Take Me Places, their final album after 25 years of evocative music-making. The Norwegian quartet blends ethereal downtempo, trip-hop, folk and immersive electronica into 11 hauntingly beautiful tracks. From the brooding opener 'Capitalism' to the cinematic closer 'Omens,' the album captures dusk-toned stillness and dreamlike introspection. Flunk's signature melancholic warmth permeates originals like 'Trapdoor' and 'I Think I Like You' alongside stunning reworks of Massive Attack and Chet Faker. A poignant swansong, Take Me Places is a testament to the band's timeless artistry and an emotional, genre-blurring journey that leaves a lasting imprint on the soul.

Review: Yorkshire lad Franky Wah continues to have a large say in the sound of modern club culture with his emotionally charged, high-energy productions and infectious hooks, standout releases and endless touring. He also runs SHEN, of course, a label, events company and clothing brand showcasing his broad creative vision. His latest project, The Revival, Vol. 2, arrives there five years after the acclaimed Vol. 1 that featured the breakout track 'Come Together' and solidified his status among dance music's elite. With this sequel, Franky Wah reaffirms his credentials with a fresh bunch of emotive, vocal-laced and sunshine-rich, drop-filled house anthems for hands-in-the-air fun.