Back catalogue: All genres

Review: Torbay's Simon Huxtable delivers another deep experience with this two-track release that shows off his mastery of atmospheric drum and bass. With a career spanning over three decades and more than 100 releases, Huxtable's touch remains as refined and emotionally resonant as ever. 'Waveform 13' opens with a classic amen break, balanced by lush, spacious pads and a liquid sensibility that merges the raw energy of jungle with the calm of ambient textures. On the flip, 'Waveform 14' is a melodic jewel. It glides through dreamy soundscapes, awash in harmonics and detail, with that signature Aural Imbalance smoothness. There's a quiet euphoria embedded in its flow, evoking a sense of peace without losing its dancefloor backbone.

Review: The latest release by Newdubhall is yet another emission of furrowed J-dub: in light of a recent five-year hiatus despite an esteemable career so far, Babe Roots has once again been hailed an icon of modern dub production here. 'Mi Feel It' hears a determined collaboration with bass tenor and mic controller Wayne, a vocalist whose glottis most fellow spitters could only dream of having been born with; the track plods through popping snares, stereo-caressing chords and a rustling beat-corpus, as Wayne reacts to the undignified laity around him with magnetic disrespect. An implosion at 140 beats per minute ensues on the B, bringing a knockier sound and a disestablishing pulse.

Review: ?Boys Wonder's 'Be Reasonable' is a lovely and limited edition new 10" etched vinyl released exclusively for Record Store Day 2025. Serving as a companion to their long-awaited debut LP Question Everything, this limited-edition single features two previously unreleased tracks exclusive to wax. The band's distinctive blend of glam-rock energy, sharp wit and infectious pop hooks brings both of these to life and are part of the reason they have been endorsed by Vic Reeves as the greatest band that never was and hailed by Jonathan Ross as one of my all-time favourite bands.

Review: Marking Indica Dubs' 100th release in serious style, 'When Jah Come' by Danman takes the form of a powerful tribute to the late Jah Shaka, whose influence shaped generations of dub and roots sounds and musicians. This long-anticipated dubplate was famously championed by Shaka himself and comes laden with deep, earth-shattering basslines, spiritual vocals that touch your inner psyche and militant rhythms with unmistakable reverence. It is a celebration and a memorial that honours Shaka's legacy while showcasing Danman's ever-commanding voice and Indica Dubs' unrivalled production strength.

Review: Marvin Dash and Lowtec combine to serve up some house grooves here that perfectly embody the Workshop sound. They are lovably loose-limbed, dusty and ramshackle, and almost feel as if they may fall apart at any given moment, but that is the joy of them. Instead, they keep you locked amongst rickety drums, frayed pads and imperfect little vocal hooks that bring the soul. 'Track 1' does that with a hazy feel, 'Track 2' is more one out with a dubby undercurrent and sustained keys and 'Track 3' brings little more prickle and drive, like a super raw Omar-S track. 'Track 4' is all about the prying, bulbous bassline that unfurls with a mind of its own beneath DIY percussive sounds.

Review: Talk about things that make you go "oooh." The moment we heard that Daniel Avery, Working Men's Club and Ghost Culture were working together on a "new musical project" we had a lot riding on the results being particularly potent. Quite what they might sound like was anyone's guess mind, and there was an underlying worry that we might be left with another supergroup disappointment - where the parts are strong but don't necessarily understand how to gel. Demise of Love prove that doesn't have to be the case every time. It sounds like all of the above and yet none of them, it's ripe with emotion, fraught with punk ferocity and outwardly romantic in an electronic sense. Rave-y, weird, melancholic, angry, sleazy and infinitely re-playable, believe the hype.

Review: Out of stoner rock miasma traipse David Eugene Edwards (Wovenhand, 16 Horsepower) and Al Cisneros (OM, Sleep) with two new sludge-offs, 'Pillar Of Fire' and 'Capernaum'. With leeward, mountainous horror vacui depicted on the front cover - and a 10" press signifying that the musicians intend for this to be a maestro's statement, not too invested in the magnanimity of a full LP and yet still knowing full well that you'll lap up the sense of terse completion such a record promises - these tracks are estivate delights, both their meditative experimental-bass workings evoking barren, anxious wanderlust.

Review: True to the name, FFF's releases do tend to make us teeter on the edge of profanity, inciting us to utter a hearty "FFF...!" whenever one of his pre-drop seatbelt warnings is sounded. With what sounds like a copyright lapsed, twilight zoney TV sample musing on the terror of true freedom kicking off the opener 'No Holds Barred', we're inducted into a true blue jungle asepsis here, with an unstoppable, untainted 808s extending over both tracks, full time and halftime alike. Only the breakbeats on the A singe the mix to the point of well done break steak, where the track's atmospheres are otherwise clean and twinkly; FX's remix, on the other hand, hovers dirtily and indubitably between jungle techstep and trip-hop, delivering a consciousness expanding mind mutator.

Review: Over three decades since it first landed like a glitter-covered brick on 90s dancefloors, Haddaway's 'What Is Love' returns in a newly remastered edition i and it still hits like heartbreak in a club bathroom at 2am. Originally released by the Trinidad-born, Germany-based singer in 1993, the track remains an unmatched high watermark of eurodance: emotionally grand, melodically undeniable and rhythmically bulletproof. The remaster elevates the sound without overcooking it, keeping the bass taut and the synths sharper than ever. This new 10" release pairs the remastered 7" and 12" mixes with three more Haddaway essentials. 'Rock My Heart' is all turbocharged joy, while 'I Miss You' slows things down into something softer, almost wistful. 'Sing About Love', a lesser-known cut, benefits most from the fresh polish i suddenly blooming into full pop spectacle. It's a brand new release with one foot in club history and the other in now, reintroducing Haddaway's iconic anthem to a new generation while giving long-time fans the sonic upgrade they didn't know they needed. There's sincerity here that still feels bracing i love hurts, sure, but it also bangs. Put simply: if this is what nostalgia sounds like, we're fully on board.

Review: American label Deep Bow makes a notable vinyl debut with this heavyweight 10" featuring King Stanley and Prince Jamo, both voicing over a thunderous riddim crafted by producer Dub Sev?. This roots-driven slab stars with King Stanley's passionate cries over sleek drums with shiny digital synths and neat guitar licks. It stays true to the deep, meditative spirit of sound system culture and becomes much more roomy and spaced out in the hands of Dub Seva. Prince Jamo's 'Joke' has a cleaner vocal and some natty keys, and also gets dubbed out by Dub Seva. A strong introduction from Deep Bow that showcases talent from both sides of the Atlantic.

Review: Two decades deep into his career and still pushing forward, this seasoned German DJ delivers something that feels both timeless and fresh. The original version of 'Kingston Riddim' is a smooth, sun-soaked affair. Drawing from island dub but built with a crisp, modern hand, the track is full of warm organic textures and laid-back swing. The chords are clean and expressive without feeling too polished. There's a breezy confidence to the groove that makes it feel effortless. It's the kind of track that could slip into any set and feel right at home. Sato's interpretation dives into deeper territory. The bass rolls in thick and heavy while the chords get more tangled and echo-laced. There's a submerged quality here, like the track has been dragged through deeper waters. It's moodier than the original but still carries that same rooted sense of rhythm. This is one of those rare records where both sides hit in different but equally effective ways.

Review: Kohei Matsunaga has spent over three decades dismantling and reconstructing the boundaries of experimental music. Born in Osaka and originally trained in architecture, his approach to sound is methodical yet unpredictable, reflecting a fascination with structure and abstraction. Across releases for labels like Raster Noton, PAN, and Skam, his work oscillates between dense rhythmic frameworks and fleeting bursts of sonic chaos, shaped through collaborations with the likes of Mika Vainio, Sean Booth, and Merzbow. His latest release continues this restless exploration. 'Filled With Vacuum' sets the tone with jagged percussive sequences and warped atmospherics, while 'Ancient Behave' layers hypnotic pulses with eerie tonal shifts. On the flip, 'Same Point Different Coordinate' pushes further into spatial disorientation, before 'Formulated Rhythm 4s' closes with a fractured yet intricate groove. It's another entry in Matsunaga's ever-expanding sonic architectureiprecise, disorienting and entirely his own.

Review: Swedish multi-instrumentalist Gustav Horneij, best known as OPE, finally lands on Jazzaggression with a new 10" release that showcases his singular approach to spiritual jazz and overdubbed improvisation. It's a new release composed entirely around bamboo flutes, but the instrumentation stretches far beyond i drums, bass, reeds, harp and subtle string textures are all played by Horneij himself, each part layered with a feel for groove and tone that's entirely unforced. Tracks like 'Instant' and 'Picante Beef' hit with warm, rolling basslines and smoky modal phrasing, while 'The Deepest Bowl' moves slower, drawing you in with flickers of flute and ambient space. 'Udon' is a clear standout, combining a floating top line with an earthy, locked-in rhythm section that could loop forever without tiring. Despite the solo setup, nothing feels precious or overcooked i the mood stays loose and tactile, like a small ensemble jamming in real time.

Review: Silent Force Recordings drops a heavy 10" teaser ahead of the much-anticipated The Last Transmission album. This sampler of it features two standout cuts from Pixl and Murder Most Foul, who ramp up the excitement for what's to come. Gritty, atmospheric, and razor-sharp, both tracks tap into the label's signature blend of deep breaks and futuristic dread. The sound designs are pristine and the beats heavy so it's a fine preview of the full-length project due later this year-raw, cinematic drum & bass built for dark rooms and loud systems. Silent Force isn't playing here.

Review: Unknown artistic exigencies from Planet Rhythm, on a new techno EP sunny-side-down flip of Groove Armada's 'Superstylin''. On the word-playing 'Super Groovin'', MC M.A.D.'s unmistakable vocals are lent an extra filling-out, as tranches of dub-technical motifs outpour from the centre mix. 'Just Won't Do It' eases up on the productive accoutrements, reducing the mix to a sustenant piping of 4x4 kick and organic pulsation, though the track makes ironic reuse of the acapella from Tim Liken's 'It Just Won't Do' in the breakdown.

Review: Refreshers is a little-known alias of Lukid, an underrated producer who has previously explored murky lo-fi sounds on cult labels like Werk Discs. With this alias, though, he makes drum & bass and jungle, and crafted the original featured here back in 2021 and dropped it into his Dekmantel mix. It was heard by the Future Retro label head who reached out to release it and we're glad he did. It's a hidden treasure that is dark, intricate and perfectly crafted. The surprise release feels like uncovering a secret moment in jungle history and it comes with Phineus II's powerful remix, which adds depth and drum rawness, which makes this a vital pick up.