Back catalogue: All genres

Review: Jetaime, staying true to our name, drop yet another large helping of sensual beats, with Volume 2 of our 'Love Session' series.

Today's lesson's in love, are provided by some of our closest friends and label regulars. Each delivering a scorchingly hot original, set to send you into sensory overload.

First up is Okain who, having brought us the incredible 'Acrobat' back in January, steps up again to reveal, what for us, is one of his finest works to date. 'Corner Boys' couldn't be more fitting for 'Love Session'. Its classic beats, sexy vocal sample and hip-grinding, oldschool bassline make it, ok not 'love', but most definitely, SEX!!

Alex steps up himself on track two, and brings us the deliciously sweet and creamy, 'Sundae'. Inventive and ever so tongue in cheek, Alex matches iconic hip-hop, with his modern Parisian beats, to create a perfect party anthem.

From the house-party, to the rave on track number three from, Varoslav. As its name suggests, 'Dancin' Like Ghosts' has a spooky and hypnotic feel. The constant pulse of delicate synths, pierced by hollow beats and piercing hats, together with its demonic vocal, make it a perfect number for those dark cellar gigs.

Finally, and rounding out the EP is Yakine, who delivers a fresh slab of Chicago-inspired house with 'U Dance'. Its killer B-Line, filtered Rhodes and spoken vocal, warms the heart as well as the feet, and make it the perfect track to round out the EP.

Overall a quite stunning collection of tracks, that we are extremely proud of. So come and join us, and get down to some serious lovin'!!

Review: This 7" from Yao Bobby & Simon Grab is as esoteric as it gets. If you don't like noise, you won't like this, it's that simple. The two tracks are taken from their recent album 'Wum' on LAVALAVA. It is some of their most abrasive and confrontational music to date. 'Nyagblodi' is an attack on corrupt African politicians with a loud, guttural voice and frazzled synth over heavily distorted drums. On the flip, 'Church' has a broken beat rhythm, hardcore industrial texture and more powerful vocal chants. These are two hard-as-nails tunes with a powerful message.

Review: We have absolutely no idea who's behind this hand-stamped 12" - all involved are keeping tight-lipped - but you should certainly give the clips a listen if celebratory disco-house is your thing. It's a brilliantly bumpin' affair that adds a plethora of classic disco vocal samples to a surging disco, bass-heavy disco-house groove rich in savagely edited orchestral sweeps borrowed from another Salsoul-era gem. It's the kind of in-your-face, arms-aloft affair that sounds like it could have been crafted in the halcyon days of disco-house (the 'French Touch' era) in the mid-to-late 1990s. It's available in radio edit and 'club cut' forms, with the latter offering just that little bit more celebratory goodness.

Review: ***B-STOCK: Vinyl has light scratches on A-side, otherwise in perfect working order ***


The Well Street label welcomes Yushh for her debut EP. The Pressure Dome label-head (who has previously landed on Facta & K-LONE's Wisdom Teeth as well as Banoffee Pies) brings a mind-altering mix of sounds here. There is sparse and futuristic space techno on 'Kara Arriba' then deeply introspective downbeat on 'Siro Silo'. 'Dough' is a percolating rhythm piece with rubbery bass and dreamy pads while 'OXI Ambigan' floats through space next to fizzing synth details, distant nebulas and alien life forms.

Review: Two years on from the release of her acclaimed mixtape-style full length debut, What We Draw, Kathy Yaeji Lee returns to XL Recordings with her debut studio album With a Hammer. Conceived (lyrically at least) as an examination of the singer-songwriter-producer's relationship with anger, the album sees Lee expand on her house/hyper-pop-influenced trademark sound via nods to trip-hop, rock, drum & bass and more, with the addition of - for the first time in her career - live instrumentation. Of course, amongst the musical tweaks and collaborations (Lorraine James, Nourished By Time, K Wata and Enganet all feature), there are still plenty of nods to her pop-leaning productions of old, not least bi-lingual vocals (she often sings in Korean as well as English) and a sense of sonic style that has always been one of the aural hallmarks of Lee's work.

Review: Sean Bowie's fifth full-length as Yves Tumor arrives with an epic title (the academically minded will be debating its meaning for years to come), a grandiose electro-rock/post-punk goes-electroclash sound, and a bagful of valedictory reviews. It's basically an extension of Bowie's previous work with a few twists, but that's no bad thing; after all, the artist's distinctive sound and strong songs have always been an impressive calling card. Highlights are plentiful, from the fizzing, 21st century punk-funk of 'Lovely Sewer', and the Prince-does-Nine Inch Nails-flex of 'Parody', to the alternately jangling and sleazy 'Operator', and the post-ESG dancefloor heaviness of 'Fear Evil Like Fire'.