Back catalogue:

Review: The third volume of this series delivers an irresistible blend of funk and 60s-inspired grooves. Side-1 kicks off with a surf-rock-infused funk jam packed with energy and retro vibes. Following that, a swinging 60s sound that combining catchy rhythms and pop sensibilities keeps the momentum going. Side-2 shifts gears a groove-heavy track led by a soulful organ that oozes vintage charm. Closing the collection, there is a gem that features smooth, funk-driven melodies, topped off by a standout sax solo and a subtle British flair. This compilation offers a vibrant mix of styles, perfect for fans of classic funk with a modern twist.

Review: One of Armenian-born, London-based Blade's seminal cuts from the early 90s UK rap scene, capturing the gritty realism of the time. 'Dark & Sinister', featuring MC Mell'o', delivers a powerful, hard-hitting vibe akin to LL Cool J's commanding presence, with an instrumental version on the flip side allows the track's intense atmosphere and production to shine. Often seen as the grandfather of UK rap, Blade plays off a gritty persona with a wicked sense of humour, and this release still resonates today.

Review: 'Beat Me Till I'm Blue' is a wonderfully funky classic by The Mohawks presented under the M Hawk alias, the Hawk in question being none other than KPM Music Library overlord Alan Hawkshaw, who wrote the themes from everything from Grange Hill to Countdown. It was a real cornerstone of the late-1960s library and soul-infused grooves of the sort that diggers still fawn over today, and sample fiends still search out. The track delivers Hawkshaw's distinctively driving Hammond organ riffs, tight drum breaks and irresistible rhythms, all of which have made it a favourite among DJs for decades. Two versions are served up here, one with the iconic horns and one with them stripped away, and both offer plenty of energy. .

Review: Hyped in hushed tones, the latest dubbing by studio troubadour Mad Professor has been so successfully kept under wraps, that relevant preview clips and contextual info online for it remain intentionally, ambiguously short, and relatively impervious to sleuthing. Of course, this would reflect the anxious ambivalence of wholesalers to unleash it back into to the wild; it only goes with the territory of dubplate culture! But they may have good reason to um and ahh, since this is a rare, and perhaps the only, example of a Mad Professor rerub of a Marvin Gaye tune, and not just any: it's none other than 'What's Going On?', of course! The version first surfaced on KLTY Radio and has never heard a proper release since. Avianca Dubs does the honours of ducting two versions on wax, in what is sure to be a faster-than-light shelf-clearer...

Review: Cover songs can sometimes be difficult to tackle for an artist and even more so if it's a completely different genre. However, lending a fresh reggae twist to Toto's classic hit makes for a a great example of a successful one here. On side one, the English version of 'Georgy Porgy' features a laid-back, smooth reggae rhythm, with the iconic guitar hook reimagined as a reggae riff, giving the song a relaxed while still infectious vibe. Ethel Lindsey's soothing vocals blend seamlessly with the rhythm section, making this rendition feel both familiar and unique. On side two, the French version offers a delightful variation, with Ethel Lindsey's vocals taking on a slightly different tone, fitting the language while adding an extra layer of charm. The reggae influences remain strong and the song's laidback vibe is preserved on both versions.

Review: Descendant, minor key seduction-funk from Miracle Thomas, whose sucrose and fructose levels are indeed incredibly low. A-sider 'Sugar Free' is a remake of Jarry Barnes and Katreese Barnes' brother-sister duet of the same name, which they made under the name Juicy, in turn a "response record" to Mtume's 1985 hit 'Juicy Fruit'. Miracle's miraculous new version brings the original 1985 number a heck of a long way, effectively conveying the newfound, cold-turkey loneliness felt during the day, presumably post-breakup. The dub on the B is a rare disco-funk-dub version too, perfect for those DJs preferring to segue into the more cosmic outer reaches of things.

Review: South Africa-born, United States-based Brendon Weller is one of dub techno's finest modern day practitioners. he has been endlessly exploring the form for years but never falls short of fresh ideas. Here he offers up his latest 12" on EchoLTD. It begins with 'Rescue Me' which is smoky, deep and atmospheric with rattling hits and chords submerging you way beneath the surface.A'YassQueen' then taps into an orignal dub ethos with rumbling bass and heady harmonica sounds floating amongst wispy pads. 'Scorching' stays fully horizontal and is a vast empty space with patient bass and drums and 'How Love Is Your Deep' ends with another heady exploration of empty space and slow motion rhythm.

Review: For the first time since their 1981 release, Alicia Myers' iconic tracks 'I Want To Thank You' and 'Don't Stop What You're Doin'' are together on one vinyl, making this a double-header that's hard to resist. Both songs, produced by Kevin 'Mr Groove' McCord, highlight the peak of his career, during which he also played a key role in Al Hudson & The Soul Partners and One Way. McCord's influence spans r&b, funk, disco and boogie, with these tracks standing as prime examples of his craft. I Want To Thank You has become a timeless classic, a staple at block parties, particularly in Brooklyn, where it's known to kick off the festivities with its unforgettable groove and Alicia's smooth, heartfelt vocals. Meanwhile, Don't Stop What You're Doin' carries its own legacy, having been famously sampled by J Dilla for Slum Village's 'What It's All About' featuring Busta Rhymes. This release from the South Street family is fully licensed, remastered and essential for any collection, encapsulating a pivotal moment in music history. Both tracks are a reminder of the joy and energy that defined the era.

Review: Two years ago, Italy's Balearic Gabba Soundsystem switched from remixing and re-editing their favourite cuts to curating compilation style EPs of similarly minded fare. They're in that mode again here, presenting a trio of cuts that combine the saucer-eyed warmth and loved-up musicality of Balearic music culture with grooves and rhythms firmly focused on the dancefloor. They begin by showcasing Wallace's sublime remix of Sewell & The Gong's 'Better Worlds', a locked-in, hypnotising fusion of semi-organic deep house grooves, new age melodic motifs and the dreamiest of ambient chords. Over on the flip they dip into slo-mo Italo-disco/acid house fusion via SIRS fine revision of My Friend Dario's 'Tell Aro', before treating us to a Pedro Bertho remix of Verdo's 'Belvourdier' in which sparkling Balearic house piano riffs, undulating acid lines and mid-80s "chorus" synth sounds rise above a fluctuating synthesiser bassline and hustling beats.

Review: Zoltan Nagy AKA P60 has spent the last four years slowly building up his Midnight Fashion label and its dedicated downtempo offshoot, Midnight Fashion Chill. Following a handful of solo EPs on the latter imprint, Nagy has now decided to offer up a first imprint compilation - one that not only showcases his work, but also that of Marcel (AKA sometime Cookin' Records artist Marcell Dudas) and Plastic City regular Forteba (AKA Hungarian stalwart Krisztian Dobrocsi). Musically, the set lives up to its' title, offering an enticing and undeniably blazed mix of DJ Calm style trip-hop, warming 1990s style downtempo grooves, slow-burn Baleric soundscapes, Onra-esque neo-boogie beats and warm, deep and languid, jazz-flecked mid-tempo house.

Review: After a string of viral hits as well as a standout live performance documented in front of the iconic Panorama Hotel, which served as the visual centrepiece of their breakthrough album Etazhi, Belarusian darkwave band and viral sensation Molchat Doma now present the vinyl edition of said live performance in vinyl form. Known for their distinct Soviet-era, gothic post-punk, this new live record vivifies three beloved tracks from Etazhi and their subsequent record Belaya Polosa: 'Toska', 'Sudno' and 'Cherne Cvety'. Bleak, washed out and yet never sacrificial of a moment's performative energy, Egor and company weave compelling synth and guitar arrangements about blurry mixes, evoking the desolation of the backgrounded Slovakian landscape captured in the live video. The limited one-time pressing 12" includes the three live tracks on side A and the etching of the iconic hotel on side B.

Review: This new one from our favourite US ambient outlet takes the form of a selection of long-form compositions from artists who are close to the label. As such it's a perfect reflection of its signature sound - deeply immersive soundscapes, slowly shifting synths and meditative moods made with a mix of hardware tools, guitars, pedals and even baritone vocals. It's named after a Norwegian term for warmth and intimacy, which certainly plays out from the evolving loops of 'A Whisper' to the textured melancholy of 'Canaan' and the reverberant drift of 'Coronation Ring'.