Back catalogue: All genres

Review: Chicago house legend and self-proclaimed house gangster DJ Sneak has been in great form of late with some raw, loopy grooves recapturing his best work. His purple patch now continues with the launch of a new label, Esconditis, which we reckon is going to be about fun edits and mash-ups for him to work into his party-starting sets. Four pop vocal cuts launch the series as massive tracks by Beyonce, Little Dragon, Timberlake and Tokischa get the Sneak makeover. They are all infused with his signature sonic touches - chunky, swung rhythms, groovy basslines and relentless, pounding kicks, but finished with standout vocals.

Review: Originally scored in 1968 by a loose circle of New York garage-psych acts, this reissued soundtrack finally lifts the veil on one of the strangest period films of the late 60s. The E-Types lead the charge with no fewer than four versions of 'Put The Clock Back On The Wall', ranging from a bright, full-band cut to a warped instrumental and stereo acapella. The Bit' A Sweet contribute the hazy, lurching 'Is It On, Is It Off?'ia woozy gem full of phased guitar and tape wobbleiwhile 'LSD Got A Hold On Me' by Thee Neons dials up the paranoia with raw, fuzzed-out intensity. The Vagrants offer a tight, harmony-laced soul ballad in 'I Love, Love You (Yes I Do)', adding contrast to the acid-drenched proceedings. While the film itself, shot entirely in greyscale, veered closer to surreal documentary than narrative cinema, the music functions as a mood-setting anchor throughoutiequal parts camp, dread, and weird sunshine optimism. This marks the first official pressing of these tracks and serves as both a time capsule of New York's outsider rock fringe and a highly playable psyche compilation in its own right.

Review: Earth's live performance at KOKO in 2016 captures the Olympia-formed experimental drone crew's evolving sound in its most immersive form. The trioiDylan Carlson, Jodie Cox and Adrienne Davisioffers a slow-burn journey through layers of doom, drone and minimalist textures that feel as weighty as they do precise. The set begins with a familiar depth, the reverberating basslines and crushing guitar tones building a space of deliberate tension. Tracks like 'Bees Made Honey In The Lion's Skull' unfurl with a vast and spatial quality, while 'Even Hell Has Its Heroes' crawls along in thick, oppressive layers. What's striking is the restraint: Earth never rushes; each note, each pause, is deliberate, serving as a meditation on the slow, heavy force of sound. The minimalist approach feels almost tactile in its quiet moments, as if the silence itself is as profound as the noise. This live offering underlines their mastery of creating music that moves beyond noise, into a deeper exploration of space, sound, and feeling.

Review: Jakarta-based Ecilo returns to Voyager Recordings with a new album that taps into a familiar style - sci-fi atmospheres with dancefloor-ready techno - but he does it with rare skill. He's been honing this style since 2008 on labels like AXIS, ARTS and Planet Rhythm and these latest tunes have had early plays from dons such as Luke Slater, Ben Sims and Svreca. 'Taken' sets the seen and launches you into deep space, and the rest of the EP powers on with the singing circuit boards of 'Fractal Mesh' quick to mesmerise, the purposeful low end throb of 'Something We Don't Understand' impossible to escape from and 'Ready The Armada' channeling archetype Jee Mills style comic techno minimalism.

Review: German progressive rockers Everon have returned after 16 years, led as ever by guitarist and vocalist Oliver Philipps. Known for their intricate melodies and deft fusion of classic prog rock with a modern sensibility, the band's latest offering showcases their signature sound that made them stand out in the late 90s and early 2000s. Despite the years apart, the group's musical chemistry remains intact, with their technical prowess and Philipps' emotive voice providing a solid foundation. However, this reunion comes with a heavy heart as recording process was marred by the sudden death of drummer and co-founder Christian Moos. The poignant 'Until We Meet Again' serves as a tribute with lyrics reflecting the sorrow of losing a close bandmate. Tracks like 'Travels' and 'Broken Angels' continue to embody Everon's knack for melodic rock with progressive flourishes, while 'Pinocchio's Nose' and 'Guilty As Charged' show their ability to mix heavier, more complex arrangements with accessibility. The band's blend of the epic and personal, coupled with their finely tuned musicianship, makes this a compelling return after such a long hiatus.