Back catalogue: All genres

Review: Final Symphony II delves deeper into the cherished melodies of the Final Fantasy series. Renowned composers Roger Wanamo and Jonne Valtonen skillfully craft rich and intricate arrangements of Nobuo Uematsu's iconic compositions from FF5, 8 & 9. Additionally, Masashi Hamauzu offers a captivating suite inspired by his monumental original score for Final Fantasy XIII, while Valtonen sets the tone with his atmospheric opening piece 'In a Roundabout Way - Fanfare'. Pianist Mischa Cheung shines brightly in the spotlight, captivating audiences with his masterful performances in 'For the People of Gaia' and the emotive solo arrangement 'You Are Not Alone'.

Review: UFO's Showtime captures the raw energy and talent of the band's 2005 live performance, featuring the hard rockers' classic line-up of vocalist Phil Mogg, bassist Pete Way, and keyboardist/guitarist Paul Raymond, alongside American guitar virtuoso Vinnie Moore and powerhouse drummer Jason Bonham, this release showcases UFO at their best. Emerging in 1969, UFO quickly established themselves as a force in rock, delivering timeless albums like Phenomenon, Force It and the iconic live record Strangers In The Night. After various line-up changes, the band solidified their return to form with 1993's Walk On Water, and continued to release acclaimed albums like Covenant and Sharks. Showtime shows their enduring influence and live talents, featuring electrifying performances of classic tracks that have defined their career. What makes UFO a legendary act in the rock world.

Review: The extensive reissue campaign for Japanese pop icon Hikaru Utada continues apace with the repress of their second album, 2001's Distance. Utada notched up the biggest selling record in Japanese history with their debut First Love, so there was already a huge anticipation for their follow-up, and they didn't disappoint. It sold 3 million copies in the first week of release alone. Utada worked with American producers on this record, including RnB maestro Rodney Jerkins (of Toni Braxton fame) and the unstoppable force of Jimmy Jam and Terry Lewis, surely two of the most important producers in RnB from that time. The results are as high-end as you would expect, and finally after more than 20 years Distance is back on vinyl.

Review: Hydeout Productions continue their full comprehensive recataloguing of Nujabes' work, not only those of his immediate productions, but also the works of the lives of others whom he'd touched through collaboration. Saxophonist Uyama Hiroto was a frequent collaborator of Nujabes', appearing as early on in the latter's storied career as 1996's Modal Soul; it may be said that this mere fact was enough to launch Hiroto's career in his own right, and his debut record A Son Of The Sun is a testament to this fact, evidencing Hiroto's preoccupation with themes of freedom and heliophilia. This debut has Nujabes' unmistakable mix thumbprints all over it, but the headspace is decidedly polished and yet more expansive, and is all produced by Hiroto despite the association and similarity; his saxophone shines best and most brightly non-hip-hop cuts such as 'Climbed Mountain'.

Review: It's been seven years since Freeform Jazz was released as a new frontier for Uyama Hiroto. Now hearing Japanese label Roph return to the jazz and hip-hop artist receive a second round of recognition, we get a thorough reminder of the directions in which jazz can be taken when not mired neither sophistry nor overcomplexity; the liners on this one remind us, likewise, of the reversals and flip-sides of every substance on Earth, that "If there is no movement, there is no stillness, and on the flip side, if there is no stillness, there is no movement." Hiroto's last record, Freeform Jazz, was his obverse side to Breath Of Love; one is duskier than the other, but the works are inseparable - so make sure you listen to the former too. Here though, we hear Hiroto synergise with participating artists Substantial and J Soul, both based in Virginia, as well as Marter and Reinaria; all the artists reign supreme over one wax side each, casting a healthful vocal light over Hiroto's otherwise impeccable recordings, as though they were each happily-ever-after kingdoms anointed in sound.