Back catalogue:

Review: Calling the curtain on Field Records' Waterworks trilogy, Yui Onodera turns his ear to confluences of hydrology and history, dedicating his latest record to Japan's Kiso Three Rivers and their transformation by 19th-century Dutch engineering. The Kiso, Nagara and Ibi rivers, once prone to catastrophic flooding, were reshaped under the guidance of Johannes de Rijke, whose work helped protect Nagoya from seasonal deluge by 1912. Onodera, known for his nuanced sound architecture, approaches this subject with a finely honed ear for subtlety, layering quiet field recordings with fuller instrumentation, evoking the widening of a river from brook to strait. The A-side's bell tones provide a sensory-meridian intimacy, processed alongside guitar, and ethereal pads; while the B-side's contradictorily colossal quietude makes itself across two long-form studies, which drift through sampled water and restrained electronics.

Review: Originally released in 2005 and celebrating its 20th anniversary, Ghost Reveries would serve as the eighth full-length from Swedish progressive metal legends Opeth. Following the 2002/2003 two-part project which showcased their most malevolent form on Deliverance and then a resolutely pleasant prog rock opus with Damnation, this follow up sought to rectify one side with the other; coalescing into a masterwork which simultaneously was regarded by longtime fans as a career height, whilst the expanded distribution from signing with major label Roadrunner opened them up to an entire new wave of unsuspecting ears. Marking their first album since 1999's Still Life to not be produced by Porcupine Tree's Steve Wilson, instead duties fell to Jens Bogren (Katatonia, At The Gates, Dimmu Borgir) who helped Mikael Akerfeldt and his cohorts to rediscover their death metal origins yet channelled through their more melancholic sensibilities. Boasting some of their most vital pieces from the epic 10-minute opener 'Ghost Of Perdition', to the even lengthier fan favourite 'Reverie/Harlequin Forest', as well as the equally adored 'The Grand Conjuration', the album has long since been held aloft as the perfect modern entry point to the world of Opeth. The project would also be the first to include keyboardist Per Wiberg as a "permanent" member while serving as their final endeavour to feature both drummer Martin Lopez and long-time guitarist Peter Lindgren.

Review: BBE, known for its groundbreaking J-Jazz and J-Jazz Masterclass series, now shines a light on an inerasable gem in Japan's national discography: the debut LP Rainbow Love by Orquesta Del Sol, the country's first authentic salsa band. Salsa's roots in Japan trace back to the post-WWII era, with groups like Tokyo Cuban Boys, but it was the 1977 Fania All-Stars tour that initiated wider interest. Percussionist Masahito "Pecker" Hashida, influenced by New York's salsa scene, formed Orquesta Del Sol on his return. Their debut, put out in 1981, blends compositions in Japanese, Spanish, and English, while working in a cover of Noro Morales' 'Rumbambola'. Produced by Shuichi "Ponta" Murakami, the album's bold sound was a product of Japan's studio scene and the band's connection to the Nuyorican salsa style. This reissue includes seven bonus tracks from the band's later years, remastered for a new generation.

Review: Frightened Rabbit's singer and chief songwriter Scott Hutchison devastatingly passed away in 2017 aged only 36. He's left behind an incredible oeuvre including this debut and sole solo album under the moniker Owl John. Hutchison as a lyricist had a warts and all approach, poetically delving into depressing subject matter in a spellbinding, artful way. The track 'Hate Music' is a case in point, his loathing of the record release cycle is conveyed with biblical imagery and brutal honesty. The cinematic polish of Frightened Rabbit is toned down in favour of a distinctive, more experimental aesthetic that resonates deeply..