Back catalogue: All genres

Review: Adeen Records returns with a superb EP that blends a classic with three new and fresh unreleased tracks. Deep house don Chez Damier's Panorama Bar Remix kicks off and is a a 2021 standout with a killer baseline and Spanish guitar that brings some sunny soul and makes for some top level house grooves. Makez then shines with 'Rocket Music' which has a chunky low end and glistening, golden piano chords making it a late night favourite. On the B-side, Adeen regular Alkalino delivers a tropical-infused edit for the peak time and Gledd closes with a classy cut 'Sere Yo' that is all about the drums. Lovely stuff.

Review: Ukrainian jazz singer Mona returns with a powerful funk 45 following last year's breakout 'Moya Vode' (or 'Sweet Water'). Fusing ancient folk traditions with modern cypher culture, this one delivers a message of unity and resilience while rolling on tempting grooves. Jazzy breakbeats, soaring horns and relentless clavinet and guitar riffs create the dynamic foundation for Mona's radiant vocals while loose piano and sax add a fresh live-jam feel. The vinyl edition features an exclusive instrumental version, with a Moog stepping into the lead and adding a different vibe.

Review: Mr Doris steps up with D-Funk Heat, a release that comfortably balances retro flair with modern groove. The production is sharp, with funky basslines that immediately grab attention, while the crisp drums and infectious synth lines keep everything fresh. Doris's ability to blend dancefloor-ready energy with nuanced musicality shines through, making this a record that's both playful and rich in its sonic textures. There's a sense of ease throughout, a laid-back confidence that invites listeners to move while staying fully immersed in the groove. It's a nod to the past with eyes firmly on the future.

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: No one edits a classic like Mr. K, as he has proven time and time again. Now the legendary studio craftsman is back and revisiting Paradise Garage and some of the club's legendary sounds. First up is TW Funkmasters' 'Love Money,' which was conceived by UK radio reggae jock Tony Williams and fuses Dennis Brown's reggae hit 'Money In My Pocket' with early rap influences. The dub version was embraced by New York's dance scene and became iconic at the 'Garage, with many homages coming later such as Larry Levan's Man Friday remake, 'Love Honey, Love Heartache.' On the flip, Janice McClain's 1979 Philly disco classic 'Smack Dab In The Middle' shines as Larry Levan's mix is reworked by Mr. K who turns up the jazzy groove with fresh breaks.

Review: Presented simply, with basic artwork that offers a subtle nod to DJ Harvey's iconic Black Cock Edits series of the 1990s, this single-sided blue 12" marks the debut of a mysterious new rework series: Mr Wong's Edits. We're not sure who Mr Wong is - aside from the fact that the artist is not the grime producer of the same name - but he has delivered a strong debut. 'The Finest This Is What You Are' sees him tastefully mess around with a lesser-celebrated, string-drenched S.O.S Band jam - or at the very least, an acapella of it. This is combined with sweeping, string-laden elements from a simmering Barry White disco number and a shuffling, bossa-influenced Latin house beat. It's certainly a unique combination but one that works really well.

Review: Ambient Classics From Japan on Mukatsuku features two lush filled classics from the label Form@ Record label from the land of the rising sun....First up, Shuichiro Nakazawa under the guise of Modern Living from 1998 - initially taken from the CD only Art Form 2 compilation although it also popped up on Music From Memory's excellent Virtual Dreams collection - now gets a whole side on loud cut 180 gram vinyl to itself. On the flipside comes Virgo aka Yasutaka Sato with his gorgeous deep techno ambient gem 'System For Zodiac piece, taken from the Landform Code CD, of which only 30 copies were ever made and has never seen light of day to vinyl until now. No repress hand numbered to 300 copies and first 100 come with Japanese Origami paper crane + sticker.

Review: Heavyweight sonic Afro-botics from Nikodemus, Barzo and Mr Doris on 7" wax. The trio team up here with Dinked Records for a double-bill 7" in veins of amapiano and broken beat, primed for crate sifters and floor ambulants alike. On the A, 'Want Some More' delivers Mr. Doris' signature blend of rhythmic muscle and Afro-Latin swang, while the flip flops Nickodemus with Barzo and Zongo Abongo for 'Show Your Power': a bold, percussive cut straddling broken beat, house, and ska. Somewhere between 126 and 128 BPM, both are utter floor finishers and could easily intro your next Afro-house set as they could provide it a sense of continuous, mid-set body.

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: While he's not put out many re-edits of late, Luke Una has serious scalpel-job pedigree. Back in the 2000s, he and then DJ partner Justin Crawford released a series of largely disco-focused edit EPs on the hush-hush Electrik Souls series. Here he returns to the format with the first in a series of reworks focused on his popular, dusty-fingered E Soul Cultura project. He begins by teasing out and lightly toughening up a killer Caribbean cut from the 1990s, Ella Andall's 'My Spirit Is Music' - an insanely rare and hard to find number that the Sheffield-born DJ has naturally tweaked sensitively. Elsewhere, he emphasises the 'proto-house dub' feel of Slick Mission's early UK house number 'Time's Up', before going even dubbed-out and more percussive on Manu Dibango's lesser-known cover of Latin disco classic 'Jingo'.

Review: Following the success of their acclaimed debut album, Mama Terra returns with a vivid tribute to one of their major influences, Herbie Hancock, where the group have reimagined his groundbreaking 1973 masterpiece, 'Head Hunters', in a live setting. Recorded at the Glasgow Jazz Festival 2024, the album captures the band's energetic performance and their deep respect for Hancock's music. Mama Terra stays true to the spirit of the original while adding their own unique flavour, replacing the synth parts with a captivating blend of vocals, saxophone, and effects-laden bass. The album also incorporates elements from other Hancock classics like 'Cantaloupe Island' and 'Butterfly', creating a dynamic and imaginative tribute to a true jazz legend.

Review: Zoltan Nagy AKA P60 has spent the last four years slowly building up his Midnight Fashion label and its dedicated downtempo offshoot, Midnight Fashion Chill. Following a handful of solo EPs on the latter imprint, Nagy has now decided to offer up a first imprint compilation - one that not only showcases his work, but also that of Marcel (AKA sometime Cookin' Records artist Marcell Dudas) and Plastic City regular Forteba (AKA Hungarian stalwart Krisztian Dobrocsi). Musically, the set lives up to its' title, offering an enticing and undeniably blazed mix of DJ Calm style trip-hop, warming 1990s style downtempo grooves, slow-burn Baleric soundscapes, Onra-esque neo-boogie beats and warm, deep and languid, jazz-flecked mid-tempo house.

Review: British Bantu visual artist and musician Zola Marcelle shares her debut album, an ingenious ten-track record of ancestral musings, ethereal sound-dreamscapes and narrative vignettes, informed by soul, broken beat, and the musics of Zimbabwean Shona and South African Sotho. A riveting journey back through bloodlines and future-past hopes, Marcelle brings an impressively playful vocal and etheric attitude; opener 'Highlight' is an invitingly tender funky jazz primer, against which Zola speaks, outlining eternally recursive goals for life; the latter half of the record is more quelling, with 'Kgotso' building on the Sotho word for "stillness" to convey the later feeling of loitering in God's waiting room, while the B-side builds 'Saturn Drive' and 'Beyond' circle back to softly intoned Afro-beatifics.

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: On his long-awaited debut, Osaka's Takuya Matsumoto draws a clear line between the tactile futurism of 90s IDM and the emotional depth of Detroit techno, finding beauty in grit and structure in chaos. There's a cinematic quality to the sequencing, from the shimmering opener 'Drifting On The Ocean' to the gnarled syncopations of 'Dril and Acid' and the broken funk of 'Fonseca'. But what makes this record truly sing is its refusal to sit still: 'Mini' dances with jazzy irreverence, while 'Triangles' feels like a dusted-off memory from a lost Rephlex archive. Matsumoto's palette is warm, spiky, and full of movementian album built not on pastiche but on devotion to groove and experimentation in equal measure. You hear shades of Underground Resistance's urgency, Mike Paradinas' off-grid detail, and Floating Points' melodic intricacy, but none of it feels borrowed. 'Traverse' and 'Mercy on the floor' close things with a spacious melancholy that lingers beyond the final fade. This is a conversation with dance music history, spoken fluently in rhythm and mood. A richly detailed, deeply personal statement from one of Japan's most quietly consistent producers.

Review: Accomplished UK talent Medlar's Islands albums mark another leap forward for the always evolving producer. It finds him merging electronic textures with live instrumentation and some top-tier collaborations from Dele Sosimi, Rebekah Reid, Finn Peters and more. 80s fusion, jazz, deep house and amapiano influences all collide into summery sounds that work as well in the club as they do pumping out of the car stereo. From the lush, afro-laced opener 'Take a Trip' to acid-tinged house, freestyle rap and blissed-out Balearica, each track has its own charm and personality. With less reliance on samples and more organic improvisation, this record could well be Medlar's best yet and certainly a great soundtrack to summer.

Review: South London's Medlar returns to Delusions of Grandeur at the peak of his production powers, showing up with a distinctly refined sonic palette on the brilliantly expansive LP, Islands. Known for his deep-cut edits, genre-hopping productions and steady underground presence, he's pulled together a cast of collaborators including Dele Sosimi, Rebekah Reid, Arnau Obiols and more. The record builds on years spent engineering and producing for others, drawing on those skills to deliver something more personal than ever. Blending live instruments, 80s-inspired electronics and club-ready low end, it's less sample-based than past work but still rooted in the recognisable Medlar spirit. Highlights come thick and fast, including the blissed-out opener 'Take A Trip', the wigged-out exoticism of 'Yeah', the acid thrust of 'Luv Interlude' and the emotion-rich Balearica of 'Ibiza'. Top marks.

Review: The sound of Medline exploring the deeper edges of electronic music, crafting a sonic landscape that's both hypnotic and evocative. 'The Edge' is a journey through atmospheric textures, pulsating rhythms and subtle melodies, creating a mesmerising soundscape that's perfect for late-night listening or introspective moments. The production is pristine, with each sound carefully crafted to create a sense of depth and immersion.

Review: Pianist and composer Alex Monfort debuts his new album here and delivers a beautifully contemporary array of soul-jazz songs influenced by rap, hip-hop, alt-r&b and neo-soul. The album is denied by a blend of tightly broken beats and lovely Rhodes chords, soothing harmonies but most of all the rich vocals of Franco-Cameroonian singer Nina Tonji. Fans of the likes of Moonchild, Erykah Badu, Fatima and Eglo Records are sure to soak up the soothing sounds of 'Hypnotized', the romantic feels of 'Attitude' and late-night intimacy of 'Saison' amongst much more.

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.