Back catalogue: All genres

Review: Recorded in collaboration with Nils Frahm at Berlin's Leiter Studio, Ganavya's fourth album is destined to carve its own path to recognition due to its unique quality. A follow-up to last year's acclaimed Daughter of a Temple, which drew praise from many music outlets, Nilam - probably best known her for her appearance alongside Sault at their recent live show - continues her journey into music as devotion, meditation and memory. Born in New York and raised in Tamil Nadu, she moves fluidly between traditions, channeling pilgrimage trails, harikatha storytelling and jazz improvisation into something uniquely her own. Her voice is unhurried, intimate and full of clarity, conjuring stillness even in motion. It's a sound that invites stillness but never feels static, where every breath carries the weight of generations and each silence says as much as her lyrics. The songs on Nilam feel distilled from years of lived experience, shaped by years of live performance as tracks like 'Sees Fire' blend Eastern tonalities with meditative jazz, fusing introspection with emotional firepower. The album traces the patterns of gratitude, loss and rootedness meanwhile anchoring the listener in a place beyond the physical. Rather than chase genre, ganavya reaches toward essence. Nilam isn't just an album, it's a moment held in reverence. A sonic altar where memory, spirit and sound meet. In her hands, song becomes a ritual of listening.

Review: Led by Edinburgh-born Los Angeles-based 90s superstar Shirley Manson, Garbage have emerged from dark, troubling times to present a new album. The follow up to 2021's No God No Masters was originally intended for release in 2023, but got put back, reportedly due to Manson's surgeries, writer's block and the death of her pet dog. Those who've kept patient, however, are in for a treat: it's a life-affirming record that stands tall in the transatlantic group's storied oeuvre. Ever the sharp critical thinker, the lyrics to lead single 'There's No Future In Optimism' remind us to grab life by the horns and feel unburned by darkness for a moment - it's a message we need from our popstars and it's a nice respite from the cranky punk music that's saturated our radio waves over the past few years.

Review: This is the first album in four years from Scot-fronted Los Angeles band Garbage and their eighth studio album total. The previous album, No Gods No Masters, delved into some heavy sociopolitical themes, which were given a lot of attention because it came out amid Covid. With this album, as the title gives away, there is a shift towards more positive thinking, even if some seriousness remains. The single 'There's No Future In Optimism' reminds us to grab life by the horns and feel unburned by darkness for a moment - Shirley Manson clearly remembering the joy of pop and the hope it can bring, despite geopolitical uncertainties. Sonically, they've crafted very powerful electronica-tinged rock, with a brilliant emphasis on rhythm, the joys of a well constructed beat and some gritty bass.

Review: Emahoy Tsege Mariam Gebru's deeply spiritual music has long remained a hidden gem and this release offers a rare chance to experience her most poignant works. Recorded in churches across Jerusalem, her performances on piano, harmonium and pipe organ transcend genre that blends Ethiopian Orthodox liturgy with the technical sophistication of her classical training. There's a serenity to these pieces, particularly in 'Ave Maria,' where her piano's crystalline chimes fill the sacred spaces, while 'Spring Ode - Meskerem' brings new life to familiar melodies, played through the rich drones of the harmonium. The collection moves from meditative to dramatic, with 'Essay on Mahlet' offering a slow, introspective journey as Emahoy translates the free verse of Orthodox liturgy into a delicate piano composition. The inclusion of 'The Storm' provides a moment of intense contrast, its stormy narrative unfolding through sharp, thunderous piano lines. Emahoy's ability to blend devotional themes with emotional depth is most apparent in 'Via Dolorosa,' where the music mirrors the weight of the stations of the cross with breathtaking gravity. Her music, though niche, stands out for its seamless fusion of Ethiopian spirituality with the grand traditions of Western classical music, feeling entirely distinct in its expression. The recordings, originally made in 1972, show a stark simplicity and restrained power that speaks directly to the soul. It's a rare treasure and an essential contribution to the world of spiritual music.

Review: Mississippi Recs provide yet another delta stream's worth of Ethio musics by nun and composer Emahoy Tsege Mariam Gebru, presenting a remarkable body of work shaped by faith, solitude, and a deep reverence for sound. First self-released in 1972 and now enlarged over two formerly unheard piano pieces, this new curatorial crimp reveals Emahoy's profound engagement with the liturgical traditions of the Ethiopian Orthodox Church: all laid to record across sacred spaces in Jerusalem, they hear her play piano, harmonium and organ, with tactful piano fingers assuring a chiming touch on 'Ave Maria' and 'Essay on Mahlet', both religious chants heard to echo against ancient stone. Also inside are two compositions from the near-lost album Der Sang Des Meeres (1963), salvaged from obscurity and restored here with equal reverence.

Review: Greatest Fits is a deep dive into the superb sounds of German avant-garde new wave pioneer Gina X on the cult Dark Entries label. This double LP compilation spans the whole of the bold, boundary-blurring career of Gina X Performance, which came together first in 1978 when singer Gina Kikoine and producer Zeus B set out to create "the absolute union of music, poetry and travesty". With selections take from four of thieves albums, you'll find their signature blend of icy electro, camp theatrics and subversive pop throughout, and it all ranges from the pulsing 'Nice Mover' to the decadent 'No G.D.M.' Greatest Fits is both a musical time capsule and a vital reminder of how far ahead Gina X always was while also serving as a celebration of queer culture and synth-driven hedonism.

Review: Jean Grae and Quelle Chris come together brilliantly here on Everything's Fine, a sharp, satirical and refreshingly non-toxic hip-hop album from two of the genre's most unique voices. Superbly blending Jean's razor-sharp lyricism with Quelle's introspective wit, the project takes aim at societal absurdities with intelligence and humour and comes with notable Cameos from comedy heavyweights like Nick Offerman, Michael Che, John Hodgman and Hannibal Buress who all add an extra layer of punch. Politically charged, deeply self-aware and sonically adventurous, this is essential listening for fans of boundary-pushing rap, and it comes on a stunning tri-colour vinyl that is as bold as the music itself.

Review: In 1968, celebrated American jazz pianist Vince Guaraldi moved away from Fantasy Records to Warner Bros and marked a new chapter with Oh, Good Grief!, his debut album on the label. Revisiting his beloved Peanuts compositions, Guaraldi expanded his signature trio setup of piano, bass and drums by incorporating electric guitar and electric harpsichord. The result was a fresh new take on his iconic themes that again resonated with fans and meant the album became a commercial success. Here remastered by Kevin Gray, this classic LP returns to vinyl and remains a joyful, nostalgic journey through Guaraldi's musical world alongside the lovable Charlie Brown and the Peanuts gang.