Back catalogue: All genres

Review: We don't know anything about R&C, but they do not do anything in a hurry, whoever they may be. The artist's self-titled label was birthed in 2021, and this is only its fifth outing. A glorious one it is too, however: 'Stars' has (we think) Italian vocals soaring in smoochy, carefree fashion over expressive Spanish guitar with modern deep, dubby drums slowly moving things on below. It's a perfect sundown sound for parties on the Med and 'Brillantina' is an edit of the classic funky and soulful disco gem 'Grease' by Barry Gibb and recorded by Frankie Valli. It's going to bring lots of fun to an open-air dance near you this summer.

Review: London underground night train riders Deadbeat Records prioritise techno-breaks handmade for late night and early morning dancefloors, times when both the best and worst comes emerges from each of us. Their inaugural Deadbeat Breaks compilation hears six out of ten full digital curations brought to a shadowy, space-invaded black vinyl truncation, with modern talking synth vomits from Olly Rant, booty bass hups from Hunter Starkings, hackney parroting hurtles from Rnbws, and a closing breakstep broil from Hooverian Blur.

Review: In celebration of 50 years in the performing arts, Idris Ackamoor presents Artistic Being for Record Store Day 2025-a powerful blend of jazz, spoken word and activism. Featuring the voices of acclaimed actor Danny Glover and stage legend Rhodessa Jones, this record captures highlights from the Underground Jazz Cabaret, which was performed during Black History Month 2024 at The Lab in San Francisco. Co-produced by Ackamoor's Cultural Odyssey, the release fuses poetic storytelling with evocative musical textures while reflecting on social justice, identity and resilience. Artistic Being is a profound statement from a visionary artist.

Review: Most bands dream of going to LA and making it in big, but for Rilo Kiley, who are from Los Angeles, they struck gold by turning the attention away from the major metropolis and gazing onto a small, influential scene in Nebraska that centers around Saddle Creek Records. As one of few non-Omaha, Nebraska-based artists to get on the label, they were signed against the odds really. But the pairing couldn’t have been better. For the Jenny Lewis-fronted group to have the genius Mike Mogis (who is the record labels go-to producer and a full time member of Bright Eyes) produce this second album of theirs was a stroke of genius. Originally released in 2002, it’s now getting a reissue that's limited to only 3000 copies. Given how strong their fanbase is, chances are these won’t be standing around for very long and it’s a beautiful celebration of one of the hallmarks of indie rock.

Review: One of the most iconic voices of the past 60 years blends heartfelt covers with original material on his latest album. Each track is carried by Robinson's eternally smooth and expressive voice. His take on William DeVaughn's 'Be Thankful For What You Got' radiates gentle optimism, while his rendition of Bill Withers' 'Lean On Me' feels like a personal reassurance that is intimate, direct and comforting. Robinson doesn't just revisit the past, he breathes new emotional life into it. From the uplifting tones of 'What a Wonderful World' to the classic soul lean of 'Be Kind To The Growing Mind', re-recorded with The Temptations, the album serves both as a tribute and a call for compassion. The covers of Carole King and Bob Marley deepen the album's message who, like Smokey, have long advocated for love and understanding through music. You will find Smokey communicating soul-deep truths with elegance and feeling. In uncertain times, this is feel-good music delivered by one of the most meaningful voices of any eraia soft-spoken reminder of our shared humanity.