Back catalogue: All genres

Review: Timeless science from G.H.O.S.T as they follow up last year's inaugural volumes with the long-awaited third chapter. "Sometimeish" is straight out of the Good Looking playbook with its wavy, dreamy samples that are countered every step of the way by robust apache breaks. "Mini Ripper" punches beneath the tempo belt with militant, super-sharp drum edits and a soaring vocal sample that's hinted at in the title. Finally, just in case this beautiful screen-printed vinyl isn't quite enough, there's an additional download for the airy dynamics and sinewy rhythms of "Viracocha".

Review: Al Wootton and Valentina Maghaletti's outstanding post-punk-dub twosome notches up a third record of vital sonics for those who cherish the magic when propulsive rhythms collide in the echo chamber. Like the music on ZamZam Sounds and the work of Al Cisneros, for example, Holy Tongue succeeds so wholly because the balance between dub tradition and experimentation is absolutely achieved. This is without question a true-skool dub excursion, but it has plenty of its own individual character, not least thanks to Maghaletti's incisive percussive thrust. Skip this record at your peril.

Review: What began two years ago with I is now completed with III, the final part in the Shock's trilogy of 12" releases for the ESP Institute label and apparently the prelude to a full length album due out later this summer! Much like the previous Shocks releases from Wanmhope, the three tracks here perfectly represent the Italian's talent for meticulously folding layers of sound over hypnotic beats and provide compelling evidence that this mysterious producer has few peers when it comes to music flushed with warped melancholy. Lead track "White Mountain" sets the tone, vague strains of guitar feedback pushed to the depths as the swooping choral voices vie for your attention with a notably crunchy beat. The more adventurous Balearic DJs will levitate towards the flip and the atmospheric delights of "Ancient Creature" and the ocean deep "N'Grip".

Review: During the 1970s, Dale O. Warren's ever-changing 24 Carat Black project delivered some of the finest hybrid soul-jazz music around, with the project's 1973 debut album considered something of an underground classic. "III" is the collective's third "official" album and was put together by Numero Group following the discovery of a number of 1980s recordings by the late, great Warren (with vocalists Princess Hearn, Vicki Gray, and LaRhonda LeGette) in a storage lock-up. Sparse but warm, languid and jazzy, it's a leisurely, soft-touch collection of cuts stripped of production trickery but high on dewy-eyed vocals, organic drums and tactile instrumentation.

Review: Following a series of self released albums over the past three years which saw them expand on hip hop classics with an auspicious level of jazz virtuosity, Canadian jazz trio Badbadnotgood grace the Innovative Leisure imprint with this enlightening collection III. Consisting of Matthew Tavares on keys, Chester Hansen on bass, and Alex Sowinski on drums, it's not hard to see why Badbadnotgood have been getting the usually hushed toned Gilles Peterson all exciting after a few listens of the nine tracks here. If you dug those cover versions you will love this album.

Review: Like much of his previous work, Gui Boratto's simply-titled third album is an album of glaring contrasts. On one hand, there's the slow, pulsating, Krautrock-influenced atmosphere of opener "Galuchat", muffled electronica of "Trap", unfeasibly gorgeous "Flying Trap" and string-laden Balearic blast that is "Third". On the other, there's the twisted techno darkness of "Stems From Hell", minimal funk of "Destination Education" and grumpy paranoia of "The Drill". That these disparate strains not only work together but also make perfect sonic sense is testament to the Brazilian's immense skill as a producer. For this reason alone, III is his most accomplished work to date.

Review: Dusty Kid's particular brand of techno has always been enveloping. While rooted in the dubwise rhythms of dub techno and the sparse pulse of minimal, his tracks tend to be densely layered and expertly textured, resulting in a sound that's rich and intoxicating, with just the right amount of hypnotic, repetitive melodies. This trademark sound is much in evidence on III, his third full-length but first for Isolade. From start to finish, the Italian delivers music to get lost in, from the calming and sweet "Sandalyon" (like Isolee doing deep techno) and dubby "Doom", to the tougher dancefloor styles of acid-techno assault "Flames" and predictably murky "Darkroom".

Review: These Chilean psychonauts have already made a considerable name for themselves on the psych circuit, largely owing to their Dusseldorf-derived love for the three 'R's (repetition, repetition, repetition). On 'III', however, they take a sharp left turn into a style that's arguably even more bewitching, and serves to set them apart from their contemporaries. The shortest song here is nine minutes long, and the mesmerising pulses of these travelogues owe as much to the ruthless geometry of techno as they do krautrock motorik or desert ambience. One for fans of Nissenenmondai and Elektro Guzzi as well as Moon Duo or The Cosmic Dead, 'III' is a frontier-walking mantric masterstroke.

Review: These Chilean psychonauts have already made a considerable name for themselves on the psych circuit, largely owing to their Dusseldorf-derived love for the three 'R's (repetition, repetition, repetition). On "III", however, they take a sharp left turn into a style that's arguably even more bewitching, and serves to set them apart from their contemporaries. The shortest song here is nine minutes long, and the mesmerising pulses of these extrapolations owe as much to the ruthless geometry of techno as they do krautrock motorik or desert ambience. One for fans of Nissenenmondai and Elektro Guzzi as well as Moon Duo or The Cosmic Dead, "III" is a frontier-walking mantric masterstroke.

Review: Godtet is back with his third LP, and one which he calls possibly the finest distillation of his sound yet. Across eight tracks he fuses sounds from around the world that show another organic evolution and draw on three years of gigging, playing and recording music. The record was made with no samples and was wholly improvised and is said to be the final part of a trilogy. The beats are dark and intense at times, but can just as easily be feather light and superbly spacious, such as on the gorgeous 'Sun.' Though these tracks are short, they really are very sweet.

Review: Is there a more iconic modern disco duo that Lindstom and Prins Thomas? The superb Scandic-pair link up here to great effect on a six track record for Smalltown Supersound. As ever the references are far and wide, from world music to deep house, cosmic ambience to synth music. The tracks are stuffed with subtle details and a rich overarching musicality that makes them as good for focussed headphone listening as it does an early evening dance. 'Oranges' is achingly gorgeous, 'Harmonia' is awash in lush arps and 'Small Stream' is dreamy bliss. Once again these maestros have come through with the goods.

Review: Gatefold 2LP ediiton: While their 50 Weapons imprint may be winding up, Modeselektor's Monkeytown imprint is still in full swing, releasing all sorts of interesting electronic music lately from producers as diverse as Robot Koch, Omar Souleyman and Howling. This time label head honchos Bronsert and Szary team up with good mate Sascha Ring aka Apparat for another session as well.. Moderat, of course! Highlights include the bittersweet and bass heavy pop inflections of "Bad Kingdom" featuring Ring's powerful vocals, the epically future beats of "Let In The Light" or "Ilona" and the upbeat dusty deep house of "Milk". Superb production on display throughout the album and don't forget to check out the killer remixes by Skee Mask and Benjamin Damage (amongst others) available soon as well.

Review: Moon B's next mini-LP offering to PPU, entitled III, is a varied affair. The a side offers up the older taped track "Realms", a semi-muted yet chuggy number for the dance floor overwrought with moon-roasted synth progressions that coat the ears. "Neither Here Nor Where" is an ode to forgotten spaces and places, wrapped tightly in synth bazz and creamed pads that emanate from Moon's favorite synth, the Alpha Juno 1. Flip the record to find Moon's most "instro-spective" offerings to date. "Art Direction" bottomed out tempo conjures up images of 1984 Prince replacing Appalonia with Inga Copeland as his motorcycle passenger after a neon lit love-making session. "Moonda"'s slow fluctuation and linn drum echoes paired with sorrowful yet hopeful chords attempts to warm you in the coldest of polar vortices. "Polywarp" rounds out the affair with syruppy vacillating instrumentation paired with unforeseen wobbly bits and foreign percussive hits. -