Back catalogue:

Review: This newly formed and already brilliant label is back with more previously unreleased instrumentals that bring a different twist and dancefloor edge to classic sounds from the rock and indie world. First up we get a subtle edit of 'Sound and Vision' which has a nice fat and funky bassline bouncing beneath the splashy drums as nice acoustic guitar melodies ring out next to glistening retro-future pads. It's a cosmic trip that oozes soul then things slow down on the flip with 'Young Americans'. This one is a nice go-slow instrumental with funky and expressive horn work taking the lead over the fat-bottomed drums and bass.

Review: Canadian DJ and producer Marie Davidson returns with her latest single 'Contrarian', a collaboration with Pierre Guerineau and Soulwax, released via the DEEWEE label. Featuring a fierce blend of raw electronics, 'Contrarian' stands out as one of Davidson's strongest club tracks to date. Earlier this year, Davidson made her debut on the iconic DEEWEE imprint with her track 'Y.A.A.M. (Your Asses Are Mine)', reuniting with Soulwax, who had previously remixed her acclaimed anthem 'Work It'. This release continues to showcase her forward-thinking approach to electronic music production.

Review: After leaving his native California for Chicago, Rudy De Anda dimmed down his beachy, psych-rock roots and dipped into some unknown waters, yielding enchanting results. His latest album, which was recorded in Austin, Texas, is romantically familiar and novelly soulful Latin pop that's a pure joy to behold. The b-side here - '83' - is a key number from that album. It has a subtle, cool groove perfect for sparking up a fat cigar and putting your feet up for the day. Given that De Anda is on such top form in this chapter of his life, it's no surprise he's done justice and then some to with his cover of Royal Jester's version of 'Take Me For A Little While'. The two tracks fit seamlessly together and beg repeat listens.

Review: UK legend Dego and killer keys-man Kaidi Tatham have been in a rich vein of form of late, dropping brilliant EPs on Eglo, Sound Signature and Rush Hour (the latter under their 2000Black alias). Here, they return to Eglo with four more slices of warm, rich, soul-flecked fluidity. As with previous outings, much of the material has a laidback jazz-funk feel, particularly "Orbiting Uhara" and the delicious "The Vault Descends" (think bustling bruk rhythms and darting boogie synths). They also offer up some tougher, synth-laden bruk-funk in the shape of "Man Made", while "Black Is Key" sees them unfurl a head-nodding vocal roller.

Review: Legendary reggae partnership Junior Dell and The D Lites are bcc with more of their charming sounds on the one and only Original Gravity label. This latest crucial 7" starts with 'Step On' which is all warm and fuzzy with plenty of vinyl cracking built into the mix. The swaggering drums are topped with horns, fills and some stylish vocals that you will well recognise from a classic of the same name by The Happy Mondays. There is much more florid attitude to the fat horns that very much take centre stage on flip-side sound 'Meanwhile On The 15th Floor', though the Hammond organs are also superb.

Review: Kent records brings a lesser-known soul gem back to vinyl where it truly belongs. Originally recorded by Terri Bryant on Verve in 1967, '(You'd Better) Straighten Up And Fly Right' has long been a fan favourite, but it has never before been available on 7". The Devonnes' version, led by a powerhouse female vocal group, captures the aura of 60s soul with an infectious melody, catchy hooks, and an exciting energy that makes it a standout in the era's soul catalog. On the flip side, 'Doin' 'The Gittin' Up' is another lively, danceable track that showcases the group's versatility. Written by the prolific Larry Banks, the song was first issued in 2005 on a compilation but has been in high demand ever since. Both tracks highlight the talent of the Devonnes, who, despite their impressive output, didn't gain the recognition they deserved at the time. This reissue finally gives their recordings the attention they've long warranted.

Review: Not since Wet Leg has a duo appeared on the UK indie scene with such hype. Disgusting Sisters have had a dream start playing Reading and Leeds, Left of the Dial, Pitchfork Paris and The Great Escape First 50 before even releasing their debut single. 'Killing It' comes out via The Speedy Wunderground 7" single series. The series has been a launch pad for the likes of Black Country, New Road, Squid and Black Midi, who have all gone on to great things. We can expect nothing less for Anglo-French sibling duo Disgusting Sisters - they will be a much bigger band within a few months of this single being released. And this irreverent, funny single will become a collector's item.

Review: Calgary's DJ Cosm, scar-faced veteran of hip-hop, has been immersed in the culture since toddlerhood. Longtime host of The Main Ingredient mix show on CJSW 90.9, he's furthermore half of the celebrated rap duo Dragon Fli Empire. On his latest 7", Cosm merges golden era influences with modern boom bap production, drawing from his digital album Natural Within; kicking off with the hard-hitting 'Rome', which corrals fellow rappers Daniel Son and Saipher Soze, then moving on to the funky boom-bapper 'Leave The Bells' with Halfcut and Ghettosocks, we're in good company with Cosm's signature scratches. On the B, 'All Or Nothing' brings a fierce break, with Adam Bomb, Mercules, Fortified Mind, and Halfcut laying down sharpened verses.

Review: UK-Irish label Battle Weapons do exactly what their name suggests, releasing slab after slab of proverbial sonic weaponry for use on the dancefloor come warground. Here the outfit welcome two seasoned names, DJ LBR and DC's Finest, for 'Let Me Clear My Funk' and 'Can I Have It Like Wack'. The first is a hilariously hung slab of cutup goodness, mashing up a live recording of DJ Kool, Biz Markie and Doug E. Fresh's 'Let Me Clear My Throat' with the central lick-groove of Cheryl Lynn's 'Got To Be Real', among other crowd-jeering follow-ons. Then the B moves bustlier and heavier on the ride cymbal sizzle, with vocal sampleage from Pharrell Williams' 'Can I Have It Like That' together with some super-real big band bravado.

Review: The figurative "battle weapon" is a kind of warring sonic heuristic; a dirty, up-your-sleeve musical "tool" made expressly for the MVP DJ to use in times of soundclash-y trouble. The Battle Weapons label know this all too well, and here they welcome new trainee assailant DJ Maars to demo his skills in the colosseum, bridging a fine line of recognisability and productive sample-flippage. 'A Nah Gun Nah Heat' brews Snoop Dogg's 'Drop It Like It's Hot' and Doug E. Fresh's 'La-Di-Da-Di' to delicious acapella effect, whilst 'Feel Like Standing' smashes Ludacris and Marcia Griffiths in an almost fated blend. Why didn't anyone else think of these before?

Review: Doctor Explosion returns with a surprise: they sing in Catalan! This limited-edition single features two tracks - one is a remake of their early classic 'Baby Please Go' (now titled 'Ves-te'n Si Us Plau') and the other is a cover of 'Perdo L'esma', an adaptation by Barcelona's Eurogrup of James Brown's' I'll Go Crazy.' Both songs are sung by Jorge Explosion in flawless Catalan and co-produced by Guerssen and Circo Perrotti. This release feels like a reunion of old friends that recalls the early days of both projects so is rife with nostalgia.

Review: The new soul project by ex-members of Silver Skylarks, Dorrington Drive, hears lush productions and distinct melodies channelled into the self-revelatory spirit of early 70s AM pop and soul. This cut could've easily been heard on one such radio station, a staple of the time. With the track named after the Riegelmann Boardwalk in Brooklyn, we find ourselves embarking on a thoroughly enjoyable Atlantic coastline jaunt here, through bombastic funk bass and slapping toms.

Review: UK favourites Dub Pistols are back with the second release in their Version excursion series. The original is a great cover an Edie Brickell classic which brings this outfit's usual blend of ska, 2-tone and dub to the fore. The drums are mid-tempo and have a real swagger while the sub-bass adds serious weight, gentle wood block hits and rim shots pepper the mix and the lovely vocal from Prince Fatty regular Shniece brings seductive and smoky soul. On their 'What I Am Manasseh Dub' things get more laden with echo and reverb and mixing desk effects twist the low ends into perfect stoner territory.

Review: 21st Century steppers Dub Pistols present their nextmost radical step forward, in the form of a biohazardous 7" re-rubbing 'I Predict A Riot' by English indie rock Kaiser Chiefs. With the dub foursome alleging that they used to play the song during soundchecks "for a bit of fun", the group have now come together, finally, for a shocking dub rendition after it especially popped off pre-show at the Mucky Weekender festival. The gang also welcome neo-dub producer Nick Manasseh for a wickedly weighty version on the B.

Review: One of many new dub renditions of classic pop songs by contemporary four-piece collective Dub Pistols, this 7" version of New Order's 'Blue Monday', the best-selling song of all time, again emerges from Mary Jane mists as a floaty memory of the era-defining song. First released in 2021 via Cyclone Records, this reissue recalls the fact that Dub Pistols consider the third Monday of every January to be 'Blue Monday'. The liner notes say: "this is the time of year when we're all cold, broke and riddled with guilt that our New Year's resolutions to get fit, drink less alcohol, and be a better human being have fallen by the wayside." The Dubmatix remix is no less effervescent, but comes backed by warlike horns. Again, all proceeds for this record go to the charity Tonic Music for Mental Health.

Review: The proverbial 'Soundboy Killa' is an enduring trope in soundsystem culture at large, referring to the apparently inherent enmity and villainy of the turntablist. Said to have originated in the days of system clashes, the assassin in question presumably refers to the opposing MC, whose barraging verbiage may pack enough semiotic punch to K.O. the opposition through mere utterances alone. Here Natty Campbell and the Freestylers pay tribute to the theme as progeny of the 90s big beat scene; having come up in the age of Fatboy Slim and Chemical Brothers, the supergroup first faced off in a whirl of tricky dub and armour-plated cold cuttage, dispatching two honorary tracks in the style of each artists' respective greatest scene-hitters: Dub Pistols' 'Cyclone' and Freestylers' 'Roughneck'. Now 'Soundboy Killa' and 'Jump On It' in turn hear a remix from Allergies and Guadi & Don Letts, the latter of which is especially experimental in its use of a peaky, 2-step shuffle.

Review: Vin Gordon, also known as Don Drummond Jr, is a celebrated trombonist from Jamaica who now drops a second 12" on Finnish Dub & Sound International with the Dubsetters. It carries on the good work of their first outing with rootsy and organic reggae rhythms topped with the signature smooth sounds of Gordon's melodies up top. After the original version of 'Get On The Groove', the B-side keeps things sweet with a Groove Dub that is as deep as they come and stacked with echo and reverb for that lovely authentic sound and then closing it out is 'Groove 78 Style' which is more percussive, splashy and cavernous with some deft studio effects added in.

Review: Mr Doris steps up with D-Funk Heat, a release that comfortably balances retro flair with modern groove. The production is sharp, with funky basslines that immediately grab attention, while the crisp drums and infectious synth lines keep everything fresh. Doris's ability to blend dancefloor-ready energy with nuanced musicality shines through, making this a record that's both playful and rich in its sonic textures. There's a sense of ease throughout, a laid-back confidence that invites listeners to move while staying fully immersed in the groove. It's a nod to the past with eyes firmly on the future.

Review: TLM celebrates its 50th vinyl-only release with an exceptional offering of jazz-lounge house intonations. Legendary Canadian Mike Perras knocks down the first domino with 'Life Goes On', a jazzy house cut driven by a captive Rhodes groove. Craig Bratley follows with a deep houser featuring Tim Hutton on trumpet, while Mark Turner honours the legacy of Blaze on the A. The AA, meanwhile, introduces DFRA Experience Jazz Band from Argentina with 'Isolation', a smoothened pure jazz cut composed by Diego Ruiz and featuring Pablo Raposso on piano, Hernan Cassibba on double bass, Gonzalo Rodriguez De Vicente on sax, Joaquin Muro on trumpet, and Bruno Varela on drums. 'Sober' by Markus Enochson closes things out on a double bass boomer 'Sober', effecting a truly loose bonhomie.

Review: Fresh off the back of X-Ray Ted's debut album Moving On comes this instrumental/scratch tool version of 'Get Loose', one of the record's best-loved non single tracks. Prior to the full album's making and eventual completion, The Bristol-based DJ and producer had spent years honing his craft and refining his signature sound, which drew heavily on soul, funk, hip-hop and breaks; all of which were styles heavily indebted to the street battle breaks culture found in 90s New York and other major cities. 'Get Loose', the seventh track on the record, features British rappers Dr. Syntax and Elemental and is a fiery exploration of what it means to loosen oneself; the track features here in full original form, alongside its locked groove and acapella versions, the former of which samples an oldskool comedy set characteristic of the kinds of sources battle DJs would sift theirs from.

Review: While born in Jamaica, like many of the Windrush Generation Robert Thompson AKA Dandy made his name in the UK, subsequently making some of the earliest - and most successful - British Ska records with the assistance of Australian entrepreneur and Crossbow Records founder Millie Small. This fine compilation, one of the first to showcase the work of a UK-based ska star, tells the story of Thompson's work in 1964 and '65, much of it alongside fellow vocalist Keith Foster as Sugar N Dandy. There's much to enjoy throughout, with highlights including the organ solo-sporting delight of 'Oh Dear', the fuzzy jazziness of 'I'm Not Crying Now', the Mod-friendly 'Blues Got a Hold On Me' and his superb ska cover of Hermans Hermits' hit 'I'm Into Something Good'.

Review: Marie Davidson's sixth studio album finds her collaborating with Belgium bossmen Soulwax - previously responsible for the massive rework of her 'Work It' track - and Pierre Guerineau. It follows her fiery single 'Y.A.A.M. (Your Asses Are Mine)' and the intense club track 'Contrarian' and marks a return to the dance floor but reimagined with the artist's signature sense of evolution. Blending the techno punch and spoken-word edge of Working Class Woman with the melodic pop structures of Renegade Breakdown, City of Clowns delivers a striking sonic fusion that is inspired by her pre-pandemic roots yet shaped by fresh antagonism, all while Davidson confronts a new foe: Big Tech.

Review: It's somewhat surprising to hear that this is Kim Deal's debut solo album, what with fellow college rock and grunge legends of the late 80s and 90s - such as her former Pixies bandmate Black Francis, Sonic Youth and Dinosaur Jr. members - putting out solo albums like there's no tomorrow; Deal, who is a member of The Breeders, has held her band mentality for the most part. The arrival of this album with her as the star on the cover, however, is even more intriguing because of the wait. And the resulting material is as assured in its slacker cool feel and as anything she has put her name to in her career so far and full of weird and scuzzy sounds that make it a feast for the ears. Deal's great taste in production is part of her winning formula, with the likes of Josh Klinghoffer (former Red Hot Chilli Peppers), Raymond McGinley of Teenage Fanclub, Slint's Britt Walford and the late Steve Albini all credited on this astounding record.

Review: Since breaking through 11 years ago, Portland, Oregon combo The Delines have crafted an attractive trademark 'country soul' sound that combines the lilting, desert drive heartache of Americana - an effect heightened by the southern drawl of singer Amy Boone - with Stax-style hazy horns, elongated Hammond organ chords, and warming grooves. It's a sound that can be as easily applied to downtempo numbers as more upbeat ones, with the widespread use of strings and less fashionable brass and woodwind instruments (flugelhorn anyone?). The band's latest full-length excursion may well be their most hard hitting, heart breaking and poignant set yet, with a polished take on their distinctive style only emphasising the quality of their musicality and Boone's expressive lead vocals.

Review: Dislocation Dance come straight out of the traps with the opener 'I Just Need A Friend'. It takes Parliament-esque funk into the 21st century and is an injection of sheer joy. Trumpeter Andy Diagram earns his keep with his stunning playing on 'Sugar Coated', while 'We All Need Love' and 'Really Should Know Better' transport you to sunny climes. 'Sugar Coated' sounds like Beirut thanks to the trumpet-tinged sparseness and tender, intimate vocal performance. And 'Can't Come Back' mixes jangle pop with electronica to great effect. It's truly great to see the return of Dislocation Dance as they have great credentials, having released some of their early material on Rough Trade and the first punk indie label, Buzzcocks' New Hormones.

Review: Doechii drops a vivid, genre-blurring mixtape, riffing on her Floridian roots and personal battles, relaying them over an arresting artistic statement. Raised in Tampa, she first gained attention with the viral hit 'Yucky Blucky Fruitcake' before signing with Top Dawg Entertainment in 2022. The mixtape's title and cover, with Doechii holding an albino alligator, nod to her "Swamp Princess" nickname and symbolize resilience" as she explained, "This mixtape is my riposte. I am no one's prey; I was born to be the predator." Doechii confronts industry pressures, sobriety, and self-worth with sharp lyricism and stylistic versatility, over standouts like 'Denial Is A River' and 'Boom Bap'.

Review: While never lauded by the jazz establishment, enthusiastic fans of the style have long claimed that Kenny Dorham was one of the finest trumpeters of his generation - not to mention one of the true greats of the bebop era. He worked with all the greats and mentored Joe Henderson, who made one of his compositions, 'Blue Bossa', a bossa-jazz classic. This album showcases for the first time a near legendary concert performed by Dorham, alongside an all-star band, at the Blue Morocco Club in the Bronx, way back in 1967. It's an electrifying performance all told, with his interpretations of Miles Davis's 'the Theme', Charlie Parker's 'Confirmation', Milt Jackson's ' Bag's Groove' (here spun out to near 15 minutes) and his own 'Blue Bossa' standing out.

Review: This demo sessions album is a real rarity - so if you were one of few to bag a copy first time round, you likely earned some jealous looks from fans. But since it's earned cult status as a jewel in their oeuvre through word of mouth, America's answer to Slowdive caved to popular opinion and made it more accessible with this first ever remaster job. This album takes it back to where it all began. Before signing to Caroline Records, Boston-based shoegazers took a leaf out of the punk DIY handbook and handed out this collection on cassette at gigs around London and posted it to labels. 4AD picked up on it and handed the cassette to the Melody Maker, where critics swooned and sparked a feeding frenzy for their signature. And for good reason: despite being less produced than their albums proper, the muddier mixes have a murky, hypnotic edge. Of the songs here 'Song For J.J.' is exhilarating with its unsettling, apocalyptic atmosphere. And 'Daymom' is the audio equivalent to being stood on a windswept Arctic tundra - dark, desolate beauty to its core. Many bands will come and do their best Drop Nineteens impression with the nu-gaze movement in full swing, but the 'Teens had something really special that can't be repeated.

Review: Arriving almost exactly three months after its predecessor, HiFi Sean and David McAlmont's third collaborative full-length is lightly a conceptual flip side to 2024's Daylight - a "dusk till dawn" night drive sequel, as they put it. To provide a distinctly different sonic sheen to the album that preceded it, the duo has reached for slow, soft-touch grooves, dreamy textures, bubbly electronics, strobe-lit synths and musical motifs forged in darker, if still colourful, tones. Add in McAlmont's honeyed, effortlessly soulful vocals, and you have another genuine gem from the 1990s survivors. Highlights include Blessed Madonna collaboration 'The Comedown', the tactile bliss of 'Goodbye Drama Queen', the huggable wooziness of 'High With You' and the heartfelt sweep of 'Star'.

Review: Gillian Welch and David Rawlings' Woodland is their first album of original material together, blending the warmth of folk and the richness of country. After years apart from recording new songs, the duo reaffirms their connection, centering the album on their intertwined voices and delicate guitar interplay. Themes of love, loss, division and reconciliation are explored with tender care, weaving personal narratives with broader societal undercurrents. The album's sonic landscape expands beyond their usual acoustic guitar base. Tracks like 'What We Had' feature strings that complement Rawlings' high, Neil Young-like vocals, while pedal steel and slide guitar add emotional texture to songs such as 'The Day Mississippi Died' and 'North Country'. The arrangements are understated yet rich, enhancing the mood without overwhelming the subtle beauty of their storytelling. Lyrically, the duo draws from classic folk traditions, nodding to influences like Guy Clark and Bob Dylan, while addressing contemporary issues with timeless resonance. Songs such as 'Hashtag' blend humor with reflections on modern life, while 'Empty Trainload of Sky' and 'Lawman' evoke vivid imagery of life's fragility and the persistence of hope. Welch and Rawlings' ability to craft intimate, poignant songs that feel timeless, rooted in tradition yet alive to the present. It's an album that rewards close listening, as each layer reveals deeper emotional truths.