Back catalogue: All genres

Review: Caleto Records's eighth outing takes the form of this various artists compilation featuring exclusively Polish producers. The Etat Cru duo of Olszewski and Pawlescu kick off with the wire and sinewy synths and tech house pomp of 'Jasmina' then Jerry M offers two cuts. 'Gutek' is a nice spaced-out tech cruiser with flashy astral pads and 'Gondin' rides on well-designed breakbeats with an old-school bassline. Robsessive's 'Look After You' is a deeper, dubber, grittier cut for late-night vibes and SIM ON's 'Brudas' is all glitchy and dystopian urban landscaping. Poland sure has plenty of talent based on this EP.

Review: The third in Exitus Records' lightyear spanning V/A series, we again hear six new, boundary-pushing new ones from six satellite artists of the present day Berlin techno scene. Opening chord cascade 'Figure Eight' by Pink Concrete contrasts sharply to tunnelling techno-body suite 'The Dream Of Motion' by Krow, signalling several more tuff propulsions to come: most notably Sayid K's 'No Lights', a balmy nightscape from the newcomer, where digital zaps initially double up as hi-hats.

Review: The debut album from Ukrainian collective Noneside unites musicians and visual artists under the inspiring words of poet Taras Shevchenko, who said 'Make love, o dark-browed ones.' Framed by a painting from contemporary artist Iryna Maksymova, the music explores the trance and tech house that is destined to bring souls together on the dancefloor this summer and beyond. Shjva opens with fresh and mashed bass and sleek trance pads that are subtle but effective. Lostlojic layer sup deep, bubbly techno drums and bass with an angelic vocal tone and Saturated Color's 'Trancia' is a speedy, scuffed-up tech groove for late-night cruising. Peshka and Yevhenii Loi offer two more future-facing trance-techno fusions packed with feels.

Review: French DJ and producer Suburb Beat keeps it street with this neat EP on Sounds of Style Records. The opener has a different kind of swagger with crisp, broken, dry drums and lingering bass notes topped with an aloof vocal. It's a nice new twist on tech house and the remix from Nenor layers in more bobbing beats and muted neon tones for a future house feel. It's a tune that again features late-night sounds that hark back to early West Coast tech from the likes of Fresh & Low and 'Aint Got No Home' shuts down with warming deep house tones that come with a sleek electronic edge and subdued sense of cool. Lovely.

Review: Cabale Records is a Parisian label that has, for the last few years been exploring the minimal techno world. It now branches out with its first various artist release featuring some tasteful tune makers starting with Pheek. He brings some loose percussive energy and wonky drum funk to his opener then Mod303 layers in dreamy and immersive pad work to deft, subtle drums on 'Paris City Zoo.' Night No Tori Vs Hubble keeps it deep and dubby with the late-night introspection of 'Deja Vu' then Sten's 'Slope' is a trippy afterhours sound with tumbling synth smears and percolating dub tech beats.

Review: Sacred Mushroom's debut is a blues-rock gem that shows the raw energy and talent of the Cincinnati-based quintet, led by Larry Goshorn and his brother Danny Goshorn. While their name might hint at psychedelia, the album leans heavily into blues traditions, paired with tight arrangements and flashes of rock ingenuity. Originals like 'Catatonic Lover', have an infectious energy and intricate chord progressions reminiscent of Jefferson Airplane, while 'All Good Things Must End' delivers a soulful Chicago blues waltz enhanced by Rusty Work's spirited harmonica. The funky opener, 'I Don't Like You', brims with dynamic harmonies and sharp guitar work that sets the tone for the album. Covers are equally impressive; their rendition of the Kinks' 'I'm Not Like Everybody Else' adds a fresh, acoustic-electric interplay and timeless melodic charm. On the extended 'Lifeline' and the driving 'Mean Old World,' the band channels the electric blues of Fleetwood Mac and John Mayall's Bluesbreakers. Charly's reissue should bring renewed clarity to this overlooked treasure, revealing a band with grit and versatility.

Review: Finally reissued for its 50th anniversary, Love In Us All is a cosmic, uncompromising statement from legendary jazz cat Pharoah Sanders. This vital piece of the free jazz canon was released as his final Impulse! album and starts with 'Love Is Everywhere' which radiates transcendent beauty with layered horns, cascading piano and a repeated vocal mantra evoking the spirit of Coltrane's seminal 'A Love Supreme'. The flip, For John' is raw, chaotic and a furious outpouring of free jazz energy. Long out of print but here remastered, this essential release showcases Sanders' vision in its most fearless, spiritual form.

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.

Review: Ben Shirken's first self-titled release as Ex Wiish is a haunting work of digital archaeology. Created with close collaborators including Pavel Milyakov, MIZU and Dorothy Carlos, H.D. Reliquary blends trumpet, violin and modular synths into a fragmented, post-human soundscape that will send shivers down your spine. Inspired by the idea of a hard drive as a sacred archive, Shirken filters live recordings through neural networks and cooks up ghostly echoes of imagined sessions. The result is raw, contemplative ambient with a host of guests all adding to the evocative, filmic nature of these otherworldly soundscapes.

Review: This Record Store Day 2025 exclusive marks the vinyl debut of First Love, Last Rites-the 1997 indie film soundtrack composed by D.C. alt-rock band Shudder To Think. The album features collaborations with Jeff Buckley, Liz Phair, Billy Corgan, John Doe and Robin Zander among more. Notably, Buckley's rendition of 'I Want Someone Badly' stands out as one of his final recordings and finds him delivering an emotionally charged performance. The soundtrack's blend of indie rock and poignant lyrics in fine vocals captures the film's introspective tone and now this limited edition release makes this '90s classic available on vinyl for the first time.

Review: The Pumpkins' sophomore effort, originally released in 1993, remains a masterclass in balancing raw emotion with lush, layered production. Opening with the iconic 'Cherub Rock', the album immediately asserts its originality, blending Billy Corgan's searing guitar work with Butch Vig's pristine production. The track's dynamic shifts and explosive energy still sounds like nothing since. 'Today', with its deceptively upbeat melody and darker lyrical undertones, became a radio and MTV staple, while 'Disarm' showcased the band's range, swapping distortion for orchestral strings and highlighting Corgan's vulnerable songwriting. For longtime fans, 'Mayonnaise' often emerges as the album's hidden gemia track that marries melancholic melodies with cathartic, crashing crescendos. Throughout the album, Jimmy Chamberlin's drumming is nothing short of phenomenal, adding weight and complexity to tracks like 'Geek U.S.A.' and 'Soma'. Siamese Dream still resonates with the same potency, blending anthems of adolescent angst and shimmering beauty. A reissue that reaffirms the album's enduring legacy as a cornerstone of its genre.

Review: This 3LP set commemorates 25 years of South Park, recorded live at Red Rocks Amphitheatre in Morrison, Colorado. Featuring creators Trey Parker and Matt Stone, alongside Primus and Ween, the album includes the most memorable songs from the show, a special highlight among which is the guest appearance by Rush's Geddy Lee and Alex Lifeson, who perform 'Closer To The Heart' with Primus and Matt Stone. The set is pressed on black vinyl, capturing a landmark celebration of the show's legacy.

Review: A worthy reissue that helps celebrate 40 years since it original hit the airwaves, Cats Without Claws finds Donna Summer at a crossroads. Having ruled the disco era, by 1984 she was adapting to a pop world that wasn't quite sure where she fitted in. Reunited with producer Michael Omartian, the album aims for the sleek, adult-contemporary sound that had revitalised her on 'She Works Hard For the Money' and the result is a spirited and fascinating listen that shines brighter in hindsight. Tracks like 'There Goes My Baby' and 'Supernatural Love' pulse with polished energy, while ballads like 'Forgive Me' (which earned Summer a Grammy) reveal her gospel roots with searing sincerity. Some of the production choices lean heavily into 80s gloss, mirroring the drama that made her disco-era work so riveting. Summer's voice remains a powerhouse, navigating pop, soul and inspirational styles with effortless charisma - making this an overlooked gem, for sure.

Review: This 1984 album demonstrated Summer's continued ability to experiment with various musical styles, The album features a blend of dance, pop, rock and even calypso influencew. The production, led by Michael Omartian, reflects a glossy, polished sound with heavy use of synthesisers and drum machines, which at times give the album a distinctly 80s vibe. The opening track, 'Maybe It's Over', shows Donna at her best vocally, with a passionate performance that highlights her emotional depth. 'Supernatural Love' and 'Eyes' blend rock and funk elements with her signature disco flair with the results being dynamic. 'I'm Free' is o standout track on the album, offering a more upbeat, danceable sound that recalls the energy of 'She Works Hard for the Money'. The track's infectious groove, combined with Donna's confident delivery, gives it staying power like a classic of hers. 'There Goes My Baby' is a cover of a 1974 The Spinners hit, which is delivered with great vocal precision. The album also includes 'Love Is Just a Breath Away', a track that leans heavily into the soft rock territory, showcasing Donna's ability to adapt to different genres. Often overlooked, this albums music is finally getting the recognition it deserves. This edition is pressed on beautiful pink and white vinyl to celebrate the 40th anniversary.