Back catalogue: All genres

Review: Eddie Logix makes his return to Rocksteady Disco fold with this fresh new 12", 'Flight Risk'. It's a varied affair that pulls from a wide range of genres including leftfield, deep house, disco, Afrobeat, and even Balearic. Some of these tunes have already been picking up high-profile support from the likes of Leo Mas, Chris Coco and Danny Krivit - no wonder given that his last on the label sold out immediately. 'Sky Dive' is a nice loose limbed funky deep disco jam, 'Home Suite' has a superb new age flute lead and 'Missing Pixels' is a tribal Afro dancer. 'Mount Juniper' is the lively and tropical house number that has you dreaming of cocktails by the sea.

Review: Greek techno producer Endlec has graced the catalogues of Mord, Analogue and Children Of Tomorrow, but here they come to Renegade Methodz for an uppercutting five-tracker in the mode of hard techno bordering on schranz. Rave elements abound on this nitty-loving opus, with the likes of 'Only Users Left Inside' and 'Unleash The Beast' seeming to liken the interior of the rave to a forbidden corner of hell.

Review: Luv Shack is a little old place where good-time disco sounds never stop flowing. The Disco Biscuits series from the label is now up to the third volume and it's as crucial as the first two. Lee Stevens gets it going with 'Theme For Disco Biscuits' which is a contemporary take on a classic Italo stomper. Endrik Schroder's 'Infinity' is a glossy synth-heavy disco made with 80s hi-energy in mind. 'One Of A Kind' on the flip then slows down with a warm house chug and Golden Boogie Connection keeps it horizontal with 'Dull Grey', topped off with some nice acid.

Review: While it's hardly a holy grail release, Billy Evans' 1985 debut single is one of those rare and hard-to-find jazz funk-meets-boogie jams that merits a reissue. The admirable Kalita Records have happily stepped up to the plate and delivered. We got both versions from the original 12": the cheery, synth bassline-powered dancefloor soulfulness of Evans and arranger Al Walters' original mix, and the pair's more thickset, club-ready Dub Mix, which in typical 1980s disco dubs style includes some fine breakdowns and groove-based sections. Dusty-fingered digger Waxist also provides a freshly re-edited take. He stretches out the groove, focusing on the synth-bass, drums, guitars and horns, before dropping in Evans' inspired lead vocal.

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Review: Colemine Records has devoted itself to releasing top notch soul music for close to 20 years now. Those who follow the label closely trust the purveyor of the label (Terry Cole) enough to blindly pick up each and almost every release. The label's knack for finding and sharing some of the best versions of soul music is clearly evident from the latest by a group called The Splendids. Originally recorded in 1961, these two songs were destined to launch this talented ensemble. Two things' happened in 1962 though. Beatles music made Doo-Wop almost irrelevant overnight. In addition, members of the group got called into Vietnam. 63 years later after originally forming, the surviving three of the five members recording once again. The result is phenomenal and makes us feel like we are back in the 1950s. Only 500 copies in total have been pressed.

Review: Bobby Ozra was on tour back in 2019 and the final date was in New York City. He had some time before returning home to Finland so hooked up with El Michel's Affair and Diamond Mine to record some music. The pair hit it off immediately, and Bobby used the chance to write about more esoteric subjects with the pair soon deciding to work on a full length album together. They are now well on with that process but in the meantime offer up two new gems. 'Losing It' is sun in Spanish and English and is a dramatic and moving tune while 'Watcha Know' explores death with some philosophical ponderings.

Review: Easy Star All Stars are back, refreshing a simple yet effective formula - melodic reggae covers of titanic rock albums. The New York natives have released several tribute albums to said figureheads, not least Pink Floyd, Radiohead, The Beatles and Michael Jackson. Ziggy Stardub, evidently, is a reggae version of David Bowie's 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. Bowiemaniacs will be Bowie-led over by this 15-track collective vision in dub, which comprehensively serves up serene versions of 'Starman', 'Five Years' and 'Moonage Daydream' and four actual dub versions. To top it off, there are myriad features from fellow coverer fanatics, including Macy Gray, Steel Pulse, Mortimer and Carlton Livingston.

Review: A triumphant return for modern synth-pop chart-toppers Everything Everything, Mountainhead is an album-length analogy for our present condition, and an oozing forth of slick, joyous music at that. "Making a mountain out of a molehill" is certainly lent a positive spin when considered in light of "starting from nothing", i.e. music career-making; Everything Everything did just that in the mid 2010s when they charmed their burgeoning audience with their sophisti-synth prowess, and this is a sophistication that can only be continually reinforced hereon. For their latest concept album Mountainhead, all of society is imagined as working towards the creation of a manmade mountain; at the top is rumoured to be a huge mirror that reflects endlessly recurring images of the self, and at the bottom of the pit is a giant golden snake; the primal fear of all believers. Everything Everything make joyous work of the dreaded maxim, "the taller the mountain, the deeper the hole", delivering glitzing, falsetto'ing gems in the form of 'Cold Reactor' and 'R U Happy?', both of which transcend their initial synthpop reveries to become more than their constituent sum.

Review: Returning with their first full-length in seven long arduous years, Texan post-rock pioneers Explosions In The Sky rediscover their purpose and poise on eighth full-length End. Following on from 2016's The Wilderness, which toyed with ambient segues and electronic moments of respite to compartmentalise the epic song-structures, this latest batch of material opts to eschew many of these meanderings in order to prioritise their bombastic, emotive, swelling spectacles with little in the way of sonic dressing. Mercurial, thoughtfully paced and potently cathartic, the work serves as a revitalised and transient embracing of classic post-rock motifs, crafted by some of the very hands that initially begat the forms.