Back catalogue: All genres

Review: Corsican label Isula Science drop a fresh brooder of previously unknown electro knowns, this time from label founder Flash FM alongside HDV, Sweely and Man/ipulate. Spanning vertiginous dark acid, then moving on through to dreamatic neon breakbeat and expedient Italo - 'Vol de nuit' especially makes signature use of a classic slap bass synth - they've got us entirely covered here. Enticing bumps in the night from the exquisitors.

Review: For the latest must-check missive on their self-titled label, London twosome Make-a-Dance have decided to pay tribute to the formative 'garage-house' sounds made for, and played at, New York clubs in the mid 1980s. Rising star Magari steps up first with 'Mars Bar', a Larry Levan-friendly affair where soulful, reggae style vocal samples ride a Boyd Jarvis-esque bassline and warm synths. It's very authentic to the sound being paid tribute to, as is Mark Seven's accompanying (and lightly freestyle influenced) 'Parkway Power' rework. Over on the reverse, Ilija Rudman takes over with 'Danceteria', a proto-garage house affair whose title offers a nod to the infamous NYC venue of the same name. Manuel Durquart remixes, retaining the nostalgic vibe while adding extra trippy layers of sound, a sturdier early NYC house groove and mazy synth solos.

Review: Burnski's agenda-setting garage label Instinct is back with killer new beats from Mance. 'Atmos101' gets things underway with sparking melodies zipping about the stereo field over chunky drums and with a filthy bassline. There is more of a throwback feel to the dusty drum loops of 'Stone Cold, Baby' complete with great vocal samples and spiralling pads. 'All Night' shows another look again with dry, stripped-back beats and big hits under warped synth stabs and more brain-melting bass. 'I Can't Help It' shuts down with silky pads work and soulful vocals.

Review: After years of sharing music through various platforms, The Wapstation launches its new label with an inaugural EP from acclaimed Italian producer Roberto Manolio. His records often sell out in quick time thanks to their magnetic appeal to minimal lovers and here he explores a tapestry of techno, house, electro and Miami bass. 'Sublevel Restrictions' is all sleek metal drums and spoken word samples, 'Orbit Around The Sun' has a Detroit soul to its crispy tech house and 'Fantasy Scratch' cuts loose with more sleazy low ends and trippy melodic refrains. Rising talent Christopher Ledger delivers a standout electro reinterpretation of the title track to finish this one in style.

Review: Medellin producer Marck D (Charlie Escobar) is a new Planet Rhythm poster child, though his digital releasing repertoire is nonetheless colossal even without them, his many affairs including Illegal Alien, Phobiq and IAMT. Shocker it is, then, that 'Dune' is Escobar's first ever 12"; the record brings ultraphonic chord slurries ('Behind The Chord') and federated, intergalactic-dynastic codes of techno honour ('Atreides'), riding the sand-wormed thematics of the Frank Herbert sci-fi classic.

Review: The Martian's 'The Long Winter Of Mars' marks a triumphant return, celebrating 30 years since Red Planet 5's original release. This reissue spotlights two iconic tracks, each occupying a side of the EP, and serves as a potent reminder of Detroit's techno legacy. Side-1 features 'Skypainter,' a track that transports the listener to uncharted sonic territories. It's beautifully layered, with an emotional depth that keeps the energy constant from start to finish - Detroit techno at its most expressive. On Side-2, 'Season Of The Solar Wind' delivers a powerful punch. This track is a prime example of dynamic Detroit-style techno, with a rhythm that captures the raw energy and innovation that defined the genre. This reissue from Red Planet, Underground Resistance's legendary sublabel, is an essential piece for anyone who reveres the Detroit sound.

Review: The Martian's Ghostdancer, reissued by the iconic Red Planet label, is a true gem in the world of Detroit techno. This record radiates a warm, soulful funk, blending vintage Detroit sounds with a unique twist. Side-1 kicks off with 'Medicine Man,' a track steeped in classic Detroit vibes, followed by 'The Vanishing Race,' both tracks reflecting The Martian's mastery in crafting timeless techno. Side-2 brings an intriguing contrast. 'Windwalker' is an uplifting, jazzy piece that exudes happiness, while 'The Talking Rocks Of Mars' ventures into darker, rougher territory, offering a captivating divergence from the other tracks. This contrast on Side-2 highlights The Martian's exceptional production skills, showcasing both depth and versatility. As Red Planet begins reissuing its catalogue for the first time, Ghostdancer is set to be in high demand. For any Detroit techno enthusiast, this release is essential, a standout from one of the genre's most influential artists.

Review: Mayhem marks their 40th anniversary with a special Record Store Day vinyl release capturing their cult April 1985 performance in Ski, Norway. This raw, early live set sees the black metal pioneers tearing through covers of Venom and Celtic Frost, which are both bands that shaped their now-legendary sound. Long before becoming icons of extremity and infamy, this recording reveals Mayhem in their formative chaos when they were laying the groundwork for the genre they helped define. Featuring the original lineup in its earliest form, this limited edition pressing is a wonderful bit of black metal history

Review: Generously filtered, aerated and pressuristic, Alton Miller's latest, and third overall, record for Rawax is a rare breed of sci-fi sonority. 'Feels So Good' starts on an unassuming note before slowly evidencing a dark-horse talent for harmony and piano playing, with 'Next 1' bringing a fusion of French house frisson and sound-designed sunstroke synths; it's only by the undulant depths of 'Can't Master' that we chance upon piquant piano flourishes and standout retrosynth swells. Echoes of 70s dub converge on two versions of the B-side's 'Feel So Good', across which a beckon-calling MC maunders astep an effortless 4x4 flow.

Review: Fresh from the release of her collaborative album with UK house and disco legend Dave Lee, one of Motor City vocalist Maurissa Rose's back catalogue classics - an Alton Miller production first released on Theo Parrish's Sound Signature label in 2017 - is given a string of fresh new revisions. Miller handles side A, delivering vocal and instrumental takes that wrap a punchy and perfectly programmed groove in undulating synth bass, colourful chords, twinkling piano motifs and lilting solos. San Fran man CoFlo handles side B, offering up vocal and instrumental takes rooted in the intersection between deep, soulful house and sun-splashed nu-jazz.

Review: In signature cinematic melodic techno style, Mind Against and Cay bring 'Cant U Hear Me / Trust', laying thick a hi-tech fusion of soulful house and synthetically squeezed sound-energy. The thrumming heartbeat of UK club culture is heart sifted through a harsh cyborg grate, reducing things to a metallurgic, pulmonary pulp. Crystalline percussion, cascading synths... 'Trust' makes particularly pristine use of untainted pluck design, with peaking plucks wriggling in the mid-high layer like buds on a mecha-euphoric flower (just look at that front cover).

Review: Funk editor Mister Mushi finalises the latest fleet-dispatch by the eponymous factory known as Mushi 45. All housed on a distinctive yellow, large-innered 7" record (you know, the you need the metal spindle adapter for), every release on this label is a charm. Here the dotted line marks out a well-defined classic by Rob Base & DJ E-Z Rock from 1998, 'It Takes Two', which in turn samples Lynn Collins' 'Think', after which this reissue is named and from which the now rather saturated vocal sample originates. James Brown's original production and backing "c'mon!" admonitions shine brightly, while Mushi's extra phattenings also serve to emphasise the mix without peaking it.

Review: The majestic Monsieur Van Pratt is back with more of his thrilling studio work, and once again he reinvents classic disco tracks with modern flair. The third instalment in this series is characterised by a distinctly underground energy that defines the "Illegal Disco" vibe. The opener 'Volar Como El Viento' is a soaring rework filled with airy synths that evoke freedom and lightness. 'Al Anochecer' re-energises a disco classic with an upbeat twist, while 'Mi Amor' is all about intimacy and passion through sultry, Spanish-inspired tones. Once again colliding nostalgia and innovation as he always does, Monsieur Van Pratt delivers a masterclass in modern disco reinterpretation that will also bring together all sorts of dancers.

Review: Under the Linkwood alias, Nick Moore has released a wealth of fine material since debuting in the late 2000s - including a string of sublime albums and EPs. Last year he popped his re-edit cherry alongside The Mighty Zaf via a two-tracker paying tribute to the late, great Phil Asher. Here he takes the next step, delivering a first solo scalpel missive via the reliable and long-running Moton imprint. On side A, the Edinburgh producer attempts to 'Make It Better' via a razor-and-tape style edit of a slap-bass-sporting, synth-wielding slice of early 80s disco-boogie perfection. We have no idea of the source material, but the lightly extended track is as infectious as it is intriguing. Over on side B, 'No Easy' is a sweet, string-laden slab of mid-tempo disco-soul sweetness, while 'Brekkers' is a squelchy, up-tempo electrofunk workout tailor-made for break-dancers.

Review: TLM celebrates its 50th vinyl-only release with an exceptional offering of jazz-lounge house intonations. Legendary Canadian Mike Perras knocks down the first domino with 'Life Goes On', a jazzy house cut driven by a captive Rhodes groove. Craig Bratley follows with a deep houser featuring Tim Hutton on trumpet, while Mark Turner honours the legacy of Blaze on the A. The AA, meanwhile, introduces DFRA Experience Jazz Band from Argentina with 'Isolation', a smoothened pure jazz cut composed by Diego Ruiz and featuring Pablo Raposso on piano, Hernan Cassibba on double bass, Gonzalo Rodriguez De Vicente on sax, Joaquin Muro on trumpet, and Bruno Varela on drums. 'Sober' by Markus Enochson closes things out on a double bass boomer 'Sober', effecting a truly loose bonhomie.

Review: Italian-born but longtime Brooklyn-based Madteo stands at the crossroads of gritty, industrial grooves and experimental sound exploration, continuously challenging the boundaries of electronic music with his genre-defying work. Known for his love of cheap vinyl and uniquely odd records, Madteo's production style mirrors this raw, unfiltered approach i like sketching sound on a dirty napkin. Just as he seeks out imperfect, worn-out records, his music embraces the rough edges and unpredictable textures, creating a sound that's as spontaneous and unrefined as a hurried, chaotic doodle.Tracks like 'Cans People' tap into an archaic rave energy, while 'To Know Those Who' delves deep into fragmented dub techno, its non-linear structure a testament to his ability to twist familiar forms into something completely new. As the album progresses, 'Nocturnal Palates' expands the filter house universe with deep, evolving textures, and 'Rave Nite Itz Alright' surprises with its subtle yet intense chaos. The closing tracks, including 'Luglio Ottantotto' and the 15-minute odyssey 'Emo G (Sticky Wicket)', showcase Madteo's knack for manipulating time, space, and sound, offering a disorienting yet mesmerising journey into the unknown. As an artist and conversationalist, Madteo's work remains bold, unpredictable, and captivating, further cementing his place as one of the most inventive voices in modern electronic music.

Review: Mahavishnu Orchestra, a believably metaphysical force in the alternate plane that is jazz-rock fusion, released Visions Of The Emerald Beyond in 1975, indicating an accessible and funk-influenced approach compared to their earlier works. Through sprawling fusion fugues and shorter, more structured pieces, the record is, despite its compositional variety, a fadeless, seamless connected suite. 'Lila's Dance' stands tall among the movements especially, though 'Eternity's Breath' and 'Cosmic Strut' also abound in their sooling psychic projections, demoing the radical result of the shaken-up, second Mahavishnu lineup, with Mahavishnu himself, sometime Miles Davis ensemble guitarist, John McLaughlin remaining at the helm.

Review: Charif Megarbane, the Beirut-based multi-instrumentalist and composer, stretches his sonic vocabulary on this sprawling new full-length, a genre-hopping journey that draws as much from the Lebanese coast as it does from the wider diaspora. Where his earlier work painted intimate portraits of local life, this one looks outwarditoward cultural entanglement, exile, and exchange. 'Hanadi' kicks things off with a sax-led, Somali-inspired groove, while 'Dreams of an Insomniac' drifts through hazy keys and fluttering violin. 'Al Dollarji' recalls his signature Mediterranean funk, full of ornate strings, but 'Al Bahriye' disrupts the flow with hip-hop motifs and vocal samples. Collaborations feel purposeful: 'Helia', with Swedish composer Sven Wunder and the Stockholm Studio Orchestra, layers lush cinematic strings into Megarbane's idiosyncratic palette. Even miniature pieces like 'Sfiha' or 'Preamble to the Conclusion' feel essential, punctuating the record's narrative of displacement with clarity and warmth. It's a collection that resists linearity, folding nostalgia and innovation into a rich, borderless soundian informal transmission between traditions, cities and moods.

Review: Brooklyn-based Model/Actriz, a four-piece rock band formed in 2016, return with an electrifying new chapter in their career. Frontman Cole Haden, guitarist Jack Wetmore, bassist Aaron Shapiro, and drummer Ruben Radlauer have forged a sound that merges post-punk aggression with noise rock's raw energy. Their latest release is a visceral, direct exploration of both the visceral chaos of their live shows and the darker, more introspective side of their sound. After their debut album Dogsbody earned critical acclaim in 2023, they've recalibrated their approach, opting for a more stripped-down and immediate experience. Tracks like 'Cinderella' and 'Acid Rain' charge forward with the kind of club-ready energy that makes their performances unforgettable, while 'Doves' and 'Audience' offer hauntingly introspective moments. Model/Actriz's commitment to blending queer themes with explosive music continues, pushing boundaries in both their lyrics and sound.

Review: After a string of viral hits as well as a standout live performance documented in front of the iconic Panorama Hotel, which served as the visual centrepiece of their breakthrough album Etazhi, Belarusian darkwave band and viral sensation Molchat Doma now present the vinyl edition of said live performance in vinyl form. Known for their distinct Soviet-era, gothic post-punk, this new live record vivifies three beloved tracks from Etazhi and their subsequent record Belaya Polosa: 'Toska', 'Sudno' and 'Cherne Cvety'. Bleak, washed out and yet never sacrificial of a moment's performative energy, Egor and company weave compelling synth and guitar arrangements about blurry mixes, evoking the desolation of the backgrounded Slovakian landscape captured in the live video. The limited one-time pressing 12" includes the three live tracks on side A and the etching of the iconic hotel on side B.

Review: American triombonist Grachan Moncur III's Some Other Stuff (1964) heaved deeper into avant-garde jazz after his groundbreaking debut Evolution. Now with an all-star lineup - Wayne Shorter (sax), Herbie Hancock (piano), Cecil McBee (bass), and Tony Williams (drums) - his sophomore slay mapped a new, unsoiled territory in modal bop. The freeform opener 'Gnostic' sets an exploratory tone, while 'Thandiwa' swings a subtler tonal thurible, and 'The Twin' playfully shunts its rhythms before 'Nomadic' reintroduces them through the rise-and-fall drumming of Mr. Williams. Now reissued as part of the Blue Note Tone Poet Series, this edition delivers the record in the utmost audiophile quality.

Review: In 1976 Anthony Howarth produced a documentary film about the Badabi tribe in Southern Iran. Each spring, this indigenous group would make the difficult journey across the Zagros mountains and valleys to ensure their sheep had new pastures to graze. Led by Jafar Qoli, the movie chronicles this epic trek and various events along the way. Taking breathers only for weddings and mediation between contacts, and grappling with torrential rain and perilous terrain, among other challenges, it's an inspiring odyssey to say the least. The music fits the bill perfectly, bringing together the legendary Persian songwriter, editor and singer Shush? Guppy and revered English singer, composer and multi-instrumentalist Gerald Thomas Moore, transporting us to a time, place and people long-since committed to memory.

Review: Few bands embody pure, unfiltered rock'n'roll like this power trio, whose vicious sound was forged in sweat, speed and sheer volume in the squats of West London and went on to effective bulldoze the line between hard rock and punk overnight. Driven by the unmistakable growl of their frontman and bassistiequal parts outlaw poet and rock deityithe group delivered some of the most incendiary riffs in history, backed by a rhythm section that hit like a runaway freight train. This edition pairs the original 12-track studio recording with an originally televised full-throttle live set from Belfast in 1981, capturing the band at their most primal. From the precision attack of 'Love Me Like a Reptile' and the relentless stomp of '(We Are) The Road Crew' to the sheer force of 'The Chase Is Better Than the Catch', the first half is a masterclass in unhinged rock'n'roll. The second half turns up the intensity even further, featuring live versions of 'Overkill', 'Bomber', and 'No Class'iraw, deafening, and unstoppable. Remastered from the original tapes, this edition is a high-voltage reminder of why they remain one of the loudest, fastest and most influential bands of all time.

Review: Marc Moulin's long career, establishing him as a pioneering figure in Belgium's music scene, continues its journey on this release, with tracks that weave together his signature blend of smooth jazz and downtempo rhythms. Beginning with the jazz-rock group Placebo in the 70s, Moulin later formed the electro-pop act Telex, which represented Belgium at Eurovision in 1980. As a solo artist, he merged jazz with electronic and downtempo sounds, collaborating with artists like Sparks and Lio. His production, marked by complex instrumentation and atmospheric depth, solidified his reputation as a key figure in both jazz and electronic music. Whether drawing from the cool jazz of the 60s or the laid-back grooves of 90s chillout, Moulin's music transcends genre boundaries. On this album, the music explores a subtle interplay of muted trumpets, congas, and guitars, blending sensual, smoky vocals with a deeply rhythmic pulse. There's an unmistakable touch of classic jazz, reminiscent of legends like Wes Montgomery and George Benson, while the rhythms pull you into a more contemporary space, aligning with the downtempo beats that were popular in the 90s. Tracks like 'Into The Dark' and 'What?' unfold with a breezy yet intricate sense of rhythm, offering both chilled vibes and moments of tension. 'Organ' offers a groove-heavy track, with its jazz roots merging seamlessly with a funk-infused, hypnotic backdrop. The bonus remixes serve as a fresh take on these original compositions. From the midnight mood of 'Organ (Cosmos Midnight Express Remix)' to the deeper house flavour of 'Into The Dark (Karma Fever Reminiscent Step Remix)', these remixes take the core of Moulin's vision and deepen it, offering something for both the jazz enthusiast and the dancefloor. This release crystalises a rich moment in Moulin's career as he updates the familiar jazz and downtempo idioms with the intricate, soulful grooves of funk and electronic experimentation, keeping his sound vital and relevant.

Review: Recorded at the storied Slugs' Saloon in Manhattan's Lower East Side, this unified collection captures the Charles Tolliver-led Music Inc quartet in blistering form. New York runs through the musiciits restlessness, density, sharp corners. Tolliver, a Brooklyn-born trumpeter with a militant edge and lyrical touch, fronts a group that helped define the forward-looking jazz of the early 70s. Beside him are Strata-East co-founder Stanley Cowell on piano, bassist Cecil McBee and drummer Jimmy Hopps, all embedded in the New York avant-garde at the time. On pieces like 'Felicite' and 'Wilpan's', they stretch out with blistering force, melting structure into raw, insistent groove. Even in quieter momentsi'Ruthie's Heart', or the shadowy 'Repetition'ithere's a tension that never quite releases, the sense that every note is carved in real time. This is the first time both volumes are presented as one continuous document, expanded with three previously unreleased tracks. It's a vital capture of a quartet thinking collectively, improvising with unrelenting intensity and total mutual trust. The sound, newly remastered, gives space to the grit and nuance of the live sessioniCowell's cascading runs, McBee's deep pull, Hopps' unpredictable propulsion. There's no studio polish here, just a direct line to the spirit of a time and place, when New York jazz burned fast, political and free.

Review: In celebration of Arvo Part's 90th year, his latest release showcases the Estonian composer's continued exploration of minimalist, spiritually charged sound . Part's work has always sought to blend the sacred with the secular, and this collection of new renditions brings forward the timeless resonance of his choral and orchestral compositions. Opening with 'Littlemore Tractus,' based on John Henry Newman's reflections, the piece sets the tone of quiet, introspective change that permeates the entire work. His music, a dialogue between sound and silence, invites profound contemplation, with the Tallinn Chamber Orchestra and the Estonian Philharmonic Chamber Choir under Tonu Kaljuste's direction offering nuanced, deeply attentive performances. Compositions like 'Vater unser,' showcase Part's ability to transform liturgical text into transcendent musical experience. There's an undeniable spiritual gravity in pieces such as 'Cantique des degres' and 'Sequentia,' where strings and vocals weave in delicate yet forceful patterns, revealing a steady undercurrent of renewal. The rich textures in these works evoke both a longing for and a reconciliation with the past, capturing Part's life-long exploration of sacred music's dialogue with the world. The album culminates with 'Vater unser,' an evocative reworking that brings together choir, strings, and piano, offering a meditative close to an album that is as much about reflection as it is about the continued forward momentum of Part's artistry. Recorded in Tallinn's Methodist Church, this latest chapter is a continuation of the Part-Eicher partnership that has defined so much of his career, expanding the legacy of albums like Tabula rasa and reinforcing Part's place as one of the most significant voices in contemporary classical music of the 20th and 21st centuries.