Back catalogue: All genres

Review: Golden Ivy's new transcendent single marks a celebrated return to the label after time spent with other imprints. Rooted in a sample from Sinnenas Dans by Scanian folk legend Ale Moller, the track evolves into a fourth-world masterpiece that layers in flute melodies with synthesised explorations and rather industrial leaning motorik rhythms. With Moller's blessing, the result is both meditative and grand and on the flip, you will find Philipp Otterbach's post-punk dub reinterpretation. it's rich in deep, sculptural and contrasting soundscapes and invites mindful, low-tempo dances that will resonate on all manner of diverse 'floors.

Review: Elliot Galvin is a leading figure in UK jazz with four solo albums that have topped year-end lists in respected media outlets. He is also a member of the Mercury-nominated Dinosaur and has collaborated with key jazz cats such as Shabaka Hutchings, Emma-Jean Thackray and Norma Winstone. Known for his improvisational prowess, his latest solo album taps into that skill once more and is an entirely improvised record that takes in quiet beauty like the opener, more theatric drama on 'Still Under Storms' and world jazz sounds on 'High & Wide'.

Review: Some 13 years have now passed since Mississippi Records started reissuing private press albums by Emahoy Tsege Mariam Gebru, an Ethiopian Orthodox nun, pianist and composer whose naturally religious-inspired works frequently took spiritual music to fascinating new places. Here the label turns its attention to 1972's Church of Kidane Mehret, notable not only for being recorded live in various churches across Jerusalem, but also for the use of harmonium and pipe organ as well as Emehoy's beloved piano. The original album, which in line with her other album features intricate and mood-enhancing solo translations of orthodox liturgies, has here been expanded via the inclusion of two further piano pieces from 1963's ultra-rare Der Sang Des Reeres - a set of which only 50 copies were ever produced.

Review: Glasbird is the project of British composer Harry Towell, owner of the ambient label Whitelabrecs. Beginning in 2018, he anonymously created A Sonic Expedition, an eight-album series inspired by remote locations like Greenland and Siberia. In 2024, Harry revealed his identity in an interview and then announced Fenscapes, an album inspired by the South Lincolnshire Fens near his village. These flat, marshy landscapes are rich in biodiversity and shaped his compositions. Harry explored local fen roads, observing wildlife and open vistas for inspiration and it all plays out in a bucolic, widescreen, immersive record of the highest quality.

Review: To say there's a meditative quality to Golem Mecanique's third album would be like saying air is something we breathe. The nom de plume of French multi-instrumental Karen Jebane, the album title directly quotes the final comments made by Pier Paolo Pasolini in his last ever interview, given just days before his body was found on an Italian beach after being brutally murdered. "We are all in danger", he quipped. From what, or who, we are still trying to figure out, 50 years on. Siamo Tutti In Pericolo doesn't look to answer the great mystery of what happened to the great filmmaker and auteur. But it does look to feelings of tension, quiet unease, and opaque mystery for its incredibly atmospheric tomes. This is deep dive stuff, reliant on a combination of refrained notes, echoes, and sombre, spiritual voices inviting us to push through into some other state of consciousness. Whether that will shed any light on anything is, of course, the real question we need to answer.

Review: This is the debut solo album by Italian-born, London-based composer, bassist and vocalist Ruth Goller. It was originally released in 2021 on Bex Burch's Vula Viel Records but quickly sold out with its detuned bass harmonics and dense vocal arrangements. Skylla introduced a sound both otherworldly and unplaceable and Goller's reputation soared as a result. That led to the critically acclaimed 2024 album Skyllumina on International Anthem while Skylla remains the genesis of her distinct style as it evokes the experimental energy of 1980s Downtown NYC or a Bjork-adjacent Icelandic project.

Review: Orange Marmalade was originally released in October 2021 after being recorded by Evgeny Grinko at the Funkhaus in Berlin. The title holds a double meaning as it nods to Alice in Wonderland, a book Ginko was reading during its creation, as well as to his nostalgic childhood memories of life back home where metal jars were filled with marmalade. Musically this one picks up off where The Naive Album left off in that it showcases a composer in utter command of his voice and own unique style. It captures a range of emotions from sorrow to joy, triumph to introspective solitude, all with sweeping orchestral moments adding to the scale and drama.

Review: Polish producer, multi-faced musician and multi-instrumental maestro Albert Karch knows his way around the sound engineer's desk. So much his finesse is unmistakeable, with a number of standout records already behind him. For example, the 2019 stunner, Celestially Light, created in collaboration with Japanese folk singer and songwriter Ichiko Aoba, Here, he delivers another exceptional joint project, teaming up with Irish ambient icon Gareth Quinn Redmond, himself no stranger to the WRWTFWW label, for a sublime outing of precise strings and pianos. A slow, meandering journey into melodic immersion which captivates and lulls, it moves between moments of sparse quiet, electronic experimentation, and more complex and full sounding arrangements in a way that holds the attention until the very last. A thing of patient beauty that deserves to be in your shopping basket.

Review: This EP weaves a labyrinth of sound, where the absence of clear genre boundaries is the only constant. The opener leads with ambient pulses, before shifting into the hypnotic, bass-heavy swells of 'Infrasound Loop,' as if crossing into a parallel dimension. As it unravels, 'Submerged Reactions' builds a wave of evolving textures, quietly oscillating between glitchy abstractions and weighty drones. Throughout, the artists' mastery of subtle, complex layers remains apparent, each track a gradual immersion into its own sonic world. On clear vinyl, it's an intricate, immersive listen-complex yet fluid, intricate yet accessible, making it easy to lose yourself in the flow.

Review: "One might thus regard the Welsh rarebit as a Machine in which a process is applied to the conditioning and perception of the world of bread and cheese." Suffice to say, John White might not have had the same ideas about what constitutes Machine Music back in 1976 as you do today. This is also the first time we've ever managed to get a reference to Welsh rarebit into the first line of writing about a record, so everyone is learning something today. "The Machines" White refers to are the individual tracks themselves, all recorded between 1967 and 1972 and all comprising different combinations of a thing. Six pairs of "bass melody instruments" made 'Autumn Countdown Machine', different permutations of "the articulations 'ging, gang, gong, gung, ho!'" comprise 'Jews Harp Machine'. And 'Son of Gothic Chord' is crafted from the sequential chord progression of four keyboard players, spanning an octave. Conceptual experimental and wildly imaginative stuff on the borderline of electronica, abstract, mathematical and something otherworldly.