Back catalogue: All genres

Review: Bob & Marcia's Young Gifted & Black album on Trojan came back in 1970 and was produced by Harry J. It included the title track, which was a UK top five hit that has remained a favourite. The cool and breezy groove carries a potent socio-political message and lo-fi drums that lodge deep. It is reissued here on anew 45rpm that is featured alongside Marcia Griffiths' soulful 'Working To The Top' which mixes authentic reggae and slightly more swaggering ska vibes and heartfelt, steady groove. Together, these tracks take it back to a golden age of reggae and are perfect for loud plays on sound systems this summer.

Review: This Biscuit release is a fierce four-track punch built dancefloor disruptors. Opening the A-side, France's BOOH (aka BOOOoo! Records co-founder) delivers 'Hidden Between Two Ferns,' a punishing blend of EBM and electro that morphs with dark energy. A2 sees Argentina's Micro.Tron bring pure electro muscle with 'Microclima Robot,' a rhythm-heavy cut that hits with precision. On the flip, JJ Fortune drops the epic and destructive 'Then I Dropped It' while Vloon closes with a snarling, high-voltage electro weapon. Raw, trippy and relentless, this one's built to shake basements and bend minds.

Review: 40 years have now passed since Larry Heard made his first record. Heard is, of course, without peers when it comes to deep house - he pretty much drew up the blueprint after all - though he does occasionally invite other producers to bask in his reflected glow. That's the case here, as he and Memphis-based Michael Kuntzman (an artist who has previously released music on Heard's Alleviated imprint) deliver a notable collaborative 12". Guest performer Maddaline whispers, sings and vocalises her way through the dreamy, richly electronic and sonically pristine 'Between Us', which is accompanied by a typically gorgeous 'Instrumental Dub'. There are two versions of 'Reel It In' - also featuring Maddaline - too: the deep tech-house shuffle of Heard's'Fingers Mix' and the back-to-Chicago-87 flex of Kuntzman's 'Summer Acid Burn' take.

Review: Some may argue that Dimitri From Paris and Tom Moulton have already provided the definitive remixes of Ron Hall, the Muthafunkaz and Marc Evans' 2006 gem "The Way You Love Me". This Glitterbox 12", which features alternative versions of those two legendary reworks, proves that they're wrong. Dimitri's "Glitterbox Retouch" of his Philadelphia International-inspired TSOP Version is a little more focused and tightly edited than its predecessor, but naturally incredibly similar. It's Moulton's "Philly Regrooved Mix", though, that's the real stunner. A near perfect example of Moulton's classic mixing skills, it sees the original disco mixer give space to each instrumental solo before unleashing the now oh-so-familiar vocal. The result is 13 minutes of unashamed disco bliss.

Review: If you're reading this you will probably already know that this Cruise Music series has been full of gold over the previous instalments. Whoever is in charge for curation has pulled it off again with four more funky and disco infused house gems. Keller's opener is a classy mix of filtered vocals and drum loops with an aching soul edge. Mark Funk offers a more party starting disco bumper with classic vocal hooks and Danny Cruz takes things onto a summer terrace with glorious horns and uplifting grooves. Makito shuts down with the dusty deep house shuffles and party atmospheres of 'Jackin With Millie.'

Review: Ninja Records looks to build on the success of its first outing with a new outing from Miroloja who are brothers and key players in the Parisian underground with great credits already to their name on Berg Audio, Tzinah Records and OLO RECORDS. Their stripped-back but tight sound is laid bare on opener 'Linkblow' with its warm house kicks and wet clicks soon to make you move. 'Morgan' is speedier with some space-tech vibes and a snappier low-end. Closer 'Krazyteora' then explores a creepy late-night urban landscape with some cyclical drums and synths moving things onwards.

Review: Danny Krivit remains in a class of one when it comes to meticulous and masterful edits of classics. He puts out a fair few of them too, but the quality levels never dip, as is the case again here when he throws it back to the energy of his native New York's most legendary dancefloors. Opener 'Flying Machine' by War was originally composed for the 1978 film Youngblood and is a dramatic Latin-infused instrumental packed with swirling flutes, fierce perc and a breakbeat that's fuelled countless Afro house tracks. It's a fiery dancefloor weapon that hasn't been on 7" before and it comes backed with 'How Much Are They', which dives into deep dub territory with help from post-punk legends Jah Wobble, Jaki Liebezeit and Holger Czukay. It's a real mind melter packed with mad effects.

Review: The Clergy Ten Year anniversary celebrations continue with a fourth special instalment of their various artists series. It's packed again with the sort of high-functioning techno that DJs always need to construct powerful sets, and that dancers will respond well to thanks to its detailing. Norbak opens with the moody minimalism of 'Sinto', Sciahri explore a more uptempo sound with grainy, gritty loops on 'Antartide' and Phara's 'Faint' gets more twisted with hellish effects and caustic textures all getting you on edge while the pummelling drums bounce out their muscular rhythm. These are evocative cuts for techno storytelling.

Review: Fresh from dropping a fine stream of loopy filter house fun on their own Jolene Records, The Parton Brothers fire up the dancefloor with their sizzling debut on Pomme Frite and channels classic French touch vibes with style. Danny & Mike deliver cuts that could have easily slipped out of the Roule camp in the late 90s here with tracks like 'Extraball,' 'Gemini,' 'Luniz' and 'The World Without You' packed with crunchy disco loops, rich filter-funk and irresistible groove. It's a tribute to that beloved French house sound we all know and love - warm, raw and homemade with love. A must for vintage deep house heads.

Review: No nonsense analogue house champions the notorious R-A-G team are back once again with more goodies on their home label M>O>S. For this one, they drop four outstanding and acidic deep house jackers. Featuring the skills of Aroy Dee, MaSpaventi and G-String, it is the former who kicks off with 'Touch', which is dusty and far-sighted. He then features with Maspaventi on 'Horizons', which is a dreamy and low-key sound with backlit chords. R-A-G then hook up for 'Wired', which is a twisted and trippy after-party mind melter and 'All Forgotten', which is moody, shadowy and traces a line to the best Detroit house from their long-running Amsterdam studio sessions.

Review: Norm Talley's Detroit label Upstairs Asylum comes through with another various artists gem here: Gari Romalis kick off with the sort of smoky house depths you always expect from this imprint. 'Electronix (I'm Ya Dancer)' is dubbed out but dynamic, then G Major's 'Metro To Downtown' brings an injection of soul warmth and percussive looseness. Chuck Daniels & Hazmat Live's 'I Want You' is a darker, more heads down affair with freaky vocals and digital synth patterns over gritty, US garage styled low ends. Max Watts then cuts loose with the undulating dub techno depths of 'Velocity' to round out a varied EP.

Review: Margaux Gazur has made her mark as a DJ with sets at places like Panorama Bar and Waking Life. Her debut album on Smallville is a deeply personal exploration of identity and sound that confirms she is just as good in the studio. The French-Vietnamese artist is now based in Berlin but draws from her time living in Vietnam and childhood recollections to craft nearly 70 minutes of immersive, organic electronica across Blurred Memories. Field recordings, traditional instruments and woozy textures blend with street rhythms from Hanoi to create rich, intimate soundscapes of the sort that are well suited to this label. Each track reveals delicate details such as mysterious voices and fragile glitches in the hypnotic grooves. Known for captivating sets at Panorama Bar, La Station, and Waking Life, Margaux offers a magical, emotionally resonant debut that invites listeners into her blurred sonic past.

Review: 1997's Slow Traffic to the Right found Bennie Maupin navigating between cerebral jazz and deep funk with style and ease. Though generally known for his abstract leanings and serious musical demeanour, here he showed a lighter side - not least because he is actually smiling on the album cover - while diving into grooves shaped by his time with Herbie Hancock's Headhunters. With help from rhythm masters like Mike Clark and Paul Jackson, Maupin swaps out ECM austerity for signature Oakland bounce, so tracks like 'It Remains to Be Seen' and 'You Know the Deal' excel with newfound swagger without abandoning his jazz roots. It's a compelling pivot into accessible, funky and smart jazz soul.

Review: Detroit electro investigator MICRO4CE delivers a no-compromise double pack here across two EPs packed with nine tracks of raw electronic futurism and imaging. It is all rooted in classic Detroit electro and so-called hi-tech-funk so the sound channels early 80s influences like Nucleus and Mantronix while carving out its own cyborg-driven edge. 'Bass Situation 313' gets underway with swampy low ends and far-sighted chords then the likes of 'Borg Fightz' bring unrelenting coruscated drums and 'The Greed' is a more minimal sound with zippy synths and dehumanised vocals. This is seriously high-grade electro for heads who like gritty, futuristic and fearless sounds.

Review: Mark Millington's debut album showcases the UK saxophonist's dynamic, melody-driven jazz sounds across some well-formed new compositions. Energetic and percussive yet deeply lyrical, five original tracks range from the joyful exuberance of 'Matilda's Dance' to the tender emotion of 'Truth Be Told.' A standout reinterpretation of Becky Hill's 'Overdrive' adds a fresh twist to the mix and throughout this album, Millington is joined by a stellar ensemble including Addison Frei (piano), Jackson Potter (guitar), Yoshi Waki (bass) and Brian Karl (drums), with more guests also featuring and making this a memorable introduction to a promising new voice in jazz.

Review: Hard Top brings together a long-overdue collection of 1975 recordings by South African alto saxophonist Kippie Moeketsi, released here under the 1970s spelling Moketsi. Issued by As-Shams/The Sun in a gatefold double vinyl edition, the record arrives in the wake of Tete Mbambisa's African Day and marks the centenary of Moeketsi's birth. Known for his foundational role in the Jazz Epistles and his deep imprint on the evolution of South African jazz, Moeketsi remained a devoted interpreter of classic American jazz traditions even as he embraced the funk-infused direction of the 70s. Flanked by standout sidemen Sipho Gumede, Dennis Mpale, and Pat Matshikiza, the album is a clement covers set, revisiting many an r&b standard, from 70s soul and pop to contemporary township grooves. Lovingly compiled and produced by Calum MacNaughton from sessions originally overseen by the late Rashid Vally, here hear: a vital artistic dossier of a musician whose influence resonates well beyond his lifetime.

Review: Dietro il Processo is a TV investigation series directed by Franco Biancacci that was broadcast by RAI in Italy from 1978 to 1980 as part of the Storie allo Specchio series. The legendary Ennio Morricone composed the main theme and scored three episodes: L'urlo, L'ultima notte di Pier Paolo Pasolini and Il caso Montesi. Although the tracks were not initially released in any format, the soundtrack became available on CD in 2009. For Record Store Day 2025, this first-ever LP edition has been assembled and comes on white vinyl so allows a chance to revisit to these most dramatic pieces.

Review: Dennis Mpale had become a key figure in South African jazz by the time the mid-70s swung around having already had a career spanning some pivotal moments in the genre's evolution. From leading the trumpet section in Chris McGregor's Castle Lager Big Band to co-founding the jazz fusion group Roots, Mpale was instrumental in shaping jazz and in 1977, he released Our Boys Are Doing It-his solo debut. It was produced by Rashid Vally and issued on Mercury as a bold response to global trends which embraced township bump jive and featured legends like Kippie Moketsi. We Are Busy Bodies now reissues this essential title from analogue masters so it sounds superb as a key bit of jazz history.

Review: Deep Valley is a new collaborative work by Australian artists Seaworthy aka Cameron Webb and Matt Rosner and they came together for it during a week-long residency at Bundanon Art Museum in New South Wales. The property which was gifted to the Australian public by artists Arthur and Yvonne Boyd in the 1990s offers a unique landscape along the Shoalhaven River and is surrounded by sandstone cliffs and diverse wildlife. Drawing inspiration from Boyd's belief that "you can't own a landscape," Deep Valley combines the inspiration of that setting with environmental recordings, guitars, piano, and electronic processing all of which aim to highlight the transient nature of ecosystems and encourage you to reconnect with the sounds of nature.