Back catalogue: All genres

Review: Recorded live on September 10, 1993, for BBC Radio 1, this set strips back the studio polish in favour of raw, surging energy, breathing new life into core tracks from their Brown Album era. Their explosive 1993 John Peel session was a broadcast that captured the UK rave pioneers at their most visceral and unfiltered. The versions of 'Lush 3-1', 'Walk Now...' and 'Semi Detached' found here are looser, leaner and more urgent. 'Lush' in particular throbs with a relentless momentum, shedding its original texture in favor of a tougher, more improvised drive. It's a perfect showcase of Orbital's gift for live manipulation, transforming structured studio pieces into kinetic, spontaneous soundscapes. This reissue boasts newly commissioned artwork by Intro and aligns with the legacy of the Peel Sessions as a proving ground for boundary-pushing talent. Critics and longtime fans have praised the EP for its intensity and fluidity, supporting Orbital's status as live innovators. Radio Sessions is a nostalgic artifact and a reminder of how thrilling and forward-thinking Orbital's sound was.

Review: Swedish multi-instrumentalist Gustav Horneij, best known as OPE, finally lands on Jazzaggression with a new 10" release that showcases his singular approach to spiritual jazz and overdubbed improvisation. It's a new release composed entirely around bamboo flutes, but the instrumentation stretches far beyond i drums, bass, reeds, harp and subtle string textures are all played by Horneij himself, each part layered with a feel for groove and tone that's entirely unforced. Tracks like 'Instant' and 'Picante Beef' hit with warm, rolling basslines and smoky modal phrasing, while 'The Deepest Bowl' moves slower, drawing you in with flickers of flute and ambient space. 'Udon' is a clear standout, combining a floating top line with an earthy, locked-in rhythm section that could loop forever without tiring. Despite the solo setup, nothing feels precious or overcooked i the mood stays loose and tactile, like a small ensemble jamming in real time.

Review: Breakcore don DJ Balli and tropical electro purveyor Sindaco team up on the aptly titled Mutant Goth Italo. True to its name, the Italian duo deliver a batch of oddball, high-energy Euro dance filtered through a nocturnal lens, with affecting vocals from Ossydiana. The twisted pop sensibilities of opener 'Pizzeria Brigada Rossa' set the tone i a feverish pace, shimmering synths, and a searing vocal top-line. The gorgeously sleazy 'Febbre' is a standout, driving yet restrained, while 'Ricatto' impresses with its sinister synths, crisp drums and undulating bass. Closer 'Fedeli Alle Linee' lets it all hang out, pairing singalong melodies with snappy rhythms and snarling bass arps.

Review: Celebrating 25 years of two of the most influential house labels around, this joint double-pack from London's R2 and Osunlade's Yoruba Records is a heavyweight offering that bridges soulful roots and dancefloor depth. Karizma's long-awaited 'Spirit' appears in multiple formsihis original gospel-powered burner, a Josh Milan remix (as Honeycomb), and a dub version featuring Nicholas Ryan Gant, all radiating righteous, late-night warmth. The second R2 cut, 'W!thout !t' is stripped and punchy, full of Karizma's trademark percussive invention. Yoruba's side sees Osunlade light up the system with 'Electricity' and 'Sumpin' Like Dis', both steeped in rhythm and spiritual uplift. Afefe Iku's '823' dives deep into his signature twilight textures, while Karizma's Baltimore remix of Mr. Flip's 'Drippin'' closes the set on a loose and funky high. It's a snapshot of two defining voices in house musicirich in groove, spirit and intention.

Review: Daniel O Sullivan, known as a producer for the likes of Tim Burgess and for his astounding art pop band Grumbling Fur, makes his first foray into classically informed chamber music. With some sort of superhuman genius mind, the unassuming Mancunian wrote these arrangements for a 14-piece ensemble and nailed it. 'Golden Verses' is stately, pastoral, yet menacing. Another highlight, 'Painting Rose' is some of the most psychedelic classical music you'll ever hear. So, if you're looking for chamber music that spans eras, genres and takes you on a transcendent journey, then look no further.

Review: Steven Umoh aka London-based Nigerian singer Obongjayar is back with Paradise Now, a sophomore album that is a bold blurring of pop, punk, Afrobeat, funk, dance and folk into a colourful and coherent new sound. Crafted with producers Kwes Darko and Beach Noise, the album was recorded between London and LA so has a global spirit with universal emotional depth. It was designed to play from start to finish on a night out so is both a party record and a Trojan Horse with infectious grooves concealing layers of complexity and introspection. It's Obongjayar at his most adventurous yet and explores what modern, global pop can sound like in 2025.

Review: Brit soul legend Omar's new work finds him in full command of his craft, gracefully vaulting through decades of soul, funk and jazz with a sound that feels both grounded in history and refreshingly modern. His collaborations - from Paul Weller's understated elegance to Giggs' streetwise energy - highlight his remarkable versatility, yet it's his own magnetic voice that pulls everything together. The arrangements are lush, rich with organic instrumentation and tinged with Caribbean warmth, offering a sound palette that's as riveting as it is all-consuming. Tracks like 'There's Much Love In The World' reflect the timeless optimism that runs through Omar's music, celebrating unity while reminding us of the power of soulful connection. Despite the star-studded line-up of guests, this release is unmistakably Omar's. His voice - distinctive and effortlessly smooth - remains at the heart of each song, whether he's trading verses with Raheem DeVaughn or harmonising with Ledisi's rich tones. The musical textures on display are just as varied, blending organic rhythms with electronic beats that never overwhelm the track's emotional core. Over time, Omar's musical approach has only become more layered and expansive, yet his unmistakable sound remains intactianchored in the originality that made him a key figure in modern soul and funk.

Review: ***B-STOCK: Scratch on sleeve but otherwise in excellent condition***


Orchestral Manoeuvres in the Dark (OMD) and their 2017 future classic The Punishment of Luxury, is an album that brilliantly merges biting social commentary with the band's signature synth-driven sound. Now available on blue vinyl, this release not only delivers sonically but also visually, with its vibrant cover art reflecting the album's thematic depth. From the opening title track, OMD sets the tone with an unapologetic critique of consumer culture, driven by Andy McCluskey's impassioned vocals and sharp lyrics. The band's ability to craft music that feels timeless yet relevant is on full display, blending modern production with the nostalgic essence of their '80s work. Tracks like 'What Have We Done' capture the disillusionment of the current era while offering a plea for a better future. Despite the absence of original drummer Malcolm Holmes, the album remains powerful, with Stuart Kershaw stepping in seamlessly and the deluxe edition's packaging, with its striking design and included lyrics booklet, further enhances the experience.

Review: ONEGRAM, the cult Japanese reggae band formed in 2011, is back with a new album that takes in everything from their genre-defying journey so far. Though known for blending reggae with lovers rock, they also fold in conscious vibes and disco grooves to their sodden and here the Tokyo-based outfit delivers ten tracks that reflect their unfiltered present. It's their first original album in five years following 2021's cover-focused Random Access Music and highlights include the soulful hit 'After the May Rain,' the groovy 'Crazy For You' (which even got praised by Incognito members) and a dreamy take on Bread & Butter's 1974 classic 'Pink Shadow.'. It's an honest, heartfelt and unmistakably ONEGRAM sound.

Review: Although their debut single 'Chime' hit the UK top 20, it's the duo's iconic second album in 1993 that marks the moment when the Hartnoll brothers transcended the UK rave underground and became bona fide electronic superstars. This faithful reissue brings back a record that didn't just capture the spirit of the time i it helped shape it. The Brown Album takes Orbital's sound to a new level of sophistication and emotional depth. Tracks like 'Halcyon + On + On' are serene, dreamlike soundscapes that remain some of the most beautiful in electronic music history. Meanwhile, 'Lush 3-1' builds and blossoms with hypnotic layers, a masterclass in dynamic progression, a perfect balance between transcendence and tension. 'Remind' and 'Impact (The Earth Is Burning)' are pulsing techno beasts that dip and drive, blending rave intensity with atmospheric richness. Each track flows into the next with seamless ease, crafting a journey that feels both epic and intimate. The Brown Album isn't just a milestone in Orbital's career i it's a timeless work that continues to influence electronic music today. Essential listening for anyone who wants to understand the genre's evolution.

Review: Originally released in 1993, seminal UK duo Orbital's Brown Album marked a bold leap forward in emotional depth and sonic ambition for electronic music. Tracks like 'Halcyon + On + On,' 'Impact (The Earth Is Burning)' and 'Lush 3-1/3-2' showcase the duo's masterful blend of driving rhythms and lush melodic textures. It was hailed as an instant classic at the time and made Mixmag's Best Dance Albums of All Time list. It has endured well over the last 30 years and is now reissued on vinyl for the first time in a decade, with a half-speed remaster and new liner notes by Andrew Harrison.

Review: Bill Orcutt's approach to the guitar feels less like playing and more like detonating: a flurry of stabbing phrases, mangled blues motifs and broken time signatures that teeter constantly on the edge of collapse. It's a sound he's refined over decades, from his early days in Miami's punk and noise scenes to his present-day experiments in live-coded digital abstraction. This new album, which features two versions of 'Anxiety of Symmetry', finds him at his most feral and funny in years i a twisted tribute to the clunky MIDI guitar presets of the 90s, rendered via his cracked-software experiments with two fifteen-minute compositions built from a single concept: six sung numbers, each mapped precisely to pitches in a major scale. These micro-phrases ('1-2', '1-2-3', and so on) repeat and multiply, creating swirling polymetric harmonies that flicker between gentle hypnosis and algorithmic overload. Female voices loop in cycles of uneven length, forming structures reminiscent of Glass's Einstein on the Beach, but without its theatricalityithis is music of obsession, not spectacle. The emotional register is unusually soft for Orcutt, but behind the surface calm lies a meticulous compulsion. In an essay of the same name, he aligns this method with "Just Right" OCD, proposing a feedback loop between mental fixation and machine logic. What emerges isn't ambient in any passive sense, but a kind of orderly unravelingicomposition as therapeutic ritual, echoing the recursive spirals of Hanne Darboven or the trance-state potential of counting itself.

Review: BBE, known for its groundbreaking J-Jazz and J-Jazz Masterclass series, now shines a light on an inerasable gem in Japan's national discography: the debut LP Rainbow Love by Orquesta Del Sol, the country's first authentic salsa band. Salsa's roots in Japan trace back to the post-WWII era, with groups like Tokyo Cuban Boys, but it was the 1977 Fania All-Stars tour that initiated wider interest. Percussionist Masahito "Pecker" Hashida, influenced by New York's salsa scene, formed Orquesta Del Sol on his return. Their debut, put out in 1981, blends compositions in Japanese, Spanish, and English, while working in a cover of Noro Morales' 'Rumbambola'. Produced by Shuichi "Ponta" Murakami, the album's bold sound was a product of Japan's studio scene and the band's connection to the Nuyorican salsa style. This reissue includes seven bonus tracks from the band's later years, remastered for a new generation.

Review: First put out in 1973, this jazz gem from Miyako ?tsuki makes a triumphant return after 50 years. Nihon Min'y?: Latin Feeling is a forward-thinking fusion of traditional Japanese folk songs and Latin jazz grooves that was recorded when ?tsuki was in her 20s and remains one of her most unique works. Backed by elite Japanese jazz musicians like flautist Akira Miyazawa and guitarist Sadayasu Nakamaru, the music transforms min'y? into vibrant, rhythm-driven pieces with arrangements by Akira Komachi. It's a rich cultural crossover that's both daring and elegant and this reissue includes two bonus tracks and a vintage-style obi.

Review: The Middle East has always invoked a sense of wonder and escapism, even if a singular tag for a vast and varied global region is an instant disservice. So it's not much of a surprise to find many countries currently in the throes of an explosive rediscovery of psychedelic sounds. Ouzo Bazooka is just one example of the kind of bands we're talking about. Originally solo project from Uri Brauner Kinrot - a musician, scientist and producer - the vehicle quickly grew into the fully fledged group we have loved over the last five albums and ten years, give or take. Widely considered pioneers of the burgeoning scene, Kapaim (Hebrew for 'palms') cements their status as a cut above most psyche rock bands anywhere on the planet. Informed by jazz, soul, blues, and indigenous musical traditions of the South Eastern Mediterranean, it's a smooth and intoxicating ride.

Review: The long-lost gem YU Disko Expres, by Igor Savin and Orkestar Stanka Selaka - both Croatian / Yugoslavian studio dons, the latter at one point serving as visiting tutor at Berklee College Of Music, and an electronic music studio founder at the Vatroslav Lisinski Concert Hall - returns with its first official reissue, fully restituted from the original reels. Its 1979 first editors, Jugoton, couldn’t have foreseen its later status as a “highly sought-after” album, one which perhaps resultantly remained nearly impossible to find in good condition since. With an all-star lineup of Yugoslavian musicians, including trumpeter Stanko Selak and bassist Miljenko Prohaska, Yu Disko Expres remains a coal-fired viaduct scaler of impossible speed and panache. Essential for fans of jazz-disco, rare grooves, and, on the off chance, Yugoslavian music history.

Review: We Carry Eden is an album so deep you can plunge right into it and forget the real world entirely. It comes from Son Of Chi, the latest project by Dutch ambient pioneer Hanyo van Oosterom, and it melds drones, field recordings, dub, jazz and fourth world influences across a two-part composition that features storytelling by West African vocalist Omar Ka. A founding member of CHI and Chi Factory, van Oosterom crafts textured soundscapes rooted in meditative grooves and spiritual depth and is inspired by Patmos and Hopi wisdom. He also weaves nature, myth and memory into a unified sonic journey with fine artwork by Michael Willis underlining the message of harmony.