Back catalogue: All genres

Review: Detroit's Julion De'Angelo is back with his second release on Maybee Hill Music, the 'Consciousness' EP. 'Ramble of a Revol' kicks things off with a 12-minute acid jack banger, full of raw emotion and a powerful message against oppressionipast, present, and future. Then there's 'Consciousness,' a smoother, more atmospheric number with dreamy keys and a bassline that nods to Larry Heard, all tied together with steady, hypnotic beats. This EP is all about reimagining the dancefloor, bringing a minimalist vibe that inspires movement and spiritual energy.

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: Pierre-Alexandre Busson, a producer known for his multifaceted talents in both music and photography, steps further into his Destiino alias with a darkly ambient collection that stretches across downbeat house, industrial electronica and melancholic disco. Having made his name in the world of French electro, Busson's transition to Destiino was marked by an exploration of improvised compositions following his participation in a sound installation at the 57th Venice Biennale in 2017. This shift from his previous styles allowed him to dive deeper into moody, atmospheric landscapes. The current project, released under CHLOE's Lumiere Noire imprint, comes as a continuation of this artistic exploration, breaking from the dancefloor-driven energy of his past work to embrace a more introspective and expansive approach. Opening with 'Yokohama,' Busson sets a pensive tone, layering soft synths over a minimalist beat. 'My Crush' follows with a reflective yet upbeat mood, while 'Somlake' (feat. Inigo Vontier) weaves light, meditative textures. 'Transe Has No Speed' dives into dense atmospherics and 'Imagery' introduces a rhythmic, bodily groove. The second side offers 'Musique Electronique Repetitive,' using looping motifs to create a trance effect, while 'La Houle' brings fluidity and 'Morning Routine' soothes with its gentle vibe. 'Pulsar' (feat. Inigo Vontier) pulses with cosmic rhythms, and 'No Pain' closes with a melancholy, reflective note.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


In the seven years that have passed since the release of his last solo album, DJ Koze has become one of electronic music's most celebrated and sought-after producers. For that reason, the release of Music Can Hear Us is a genuinely big deal - as the impressive roll call of guest vocalists and collaborators (Damon Albarn, Sophia Kennedy, Ada, Notwist and Marley Waters included) attests. Typically, alongside a handful of genuine dancefloor workouts in his skewed deep house style ('Buschcutter', 'Bush Taxi'), Koze serves up far more fine material that is less easy to categorize - think Indian-influenced downtempo exotica ('The Universe In a Nutshell'), off-kilter outsider electronica ('The Talented Mr Tripley'), jangly psych-Balearic excursions ('Arunda') and heady ambient soundscapes ('A Donde Vas?'). Spots in end of year 'best of' lists await.