Back catalogue: All genres

Review: Insense has put together a tidy 7" featuring a rendition of Pharoah Sanders' 'Moon Child' which was first specially crafted for the compilation album Incense Music for Bed Room. It is a lush and spiritual sound led by gorgeous wind instruments and fluttery melodies over gentle and persuasive rhythms. On the flip, Yoshiharu Takeda's 'Bliss Of Landing' is another escapist sound with more of the same. A lovely 45 rpm for those quiet moments.

Review: This package of remixes of tunes from Translations is a real gem for lovers of Future Sound of London. plenty of familiar samples and textures are worked into the five Yage remixes as are cosmic overtones, sitars, drones, backward guitars and more. 'The Big Blue' is a woozy intergalactic sound on slow-mo beats, 'Requiem' is a worldly dub, 'The Lovers' has psyched-out lead riffs that bring prog energy and 'The Great Marmalade Mama In The Sky' has drunken tabla drums and mesmeric strings for a perfect retro-future comedown. 'Wooden Ship' is a spine-tingling sound with choral vocals bringing the celestial charm.

Review: The third volume in the Insense Music compilation series, Insense Music for Dining Room, deepens its exploration of ambient, jazz, chill-out and Balearic sounds, all of which are perfect for serene dining moments. Curated by Tohru Hashimoto with artwork by Jiro Fujita and mastering by Calm, who a key figure in Japan's music scene as well as a renowned Balearic boss, this 7" release shines from the off: side A features Yakenohara's subtle, exclusive take on Bill Evans's 'Peace Piece' which blends his genre-fluid skills as rapper, DJ and producer. Side B offers Noa Noa's warm tribute to Bobby Hutcherson's 'Montara,' a hip-hop sampling favourite. The release precedes a full compilation dropping this May.

Review: A genre-defying exploration of industrial, noise and breakbeat influences. With a strong vocal presence and a deep understanding of break-based rhythms, YSSUE creates a unique sonic landscape that challenges conventions. Side-1 opens with 'Count 7/8', blending acoustic and synthetic sounds in a way that feels both experimental and grounded. The track's rhythmic complexity and textural depth set the tone for the rest of the album. 'Wherever' follows, merging jungle breakbeats with industrial intensity, while maintaining a catchy, accessible edge that will appeal to fans of both genres. The title track, 'Human Nature', stands out with its gritty, downtempo atmosphere. Reminiscent of Massive Attack's Mezzanine, the track's production is dark and atmospheric, layering dub elements with a subtle, edgy intensity that captures the essence of the human condition. Side-2 opens with 'No Cops In Paradise', where dub meets breakcore in a clash of electronics, creating a chaotic yet controlled rhythm. 'Hefty Dub' closes the album with a tribute to dub, offering a deep, immersive groove that wraps up the journey with a satisfying, bass-heavy finish. Human Nature is a bold, boundary-pushing record that successfully fuses disparate influences into something entirely fresh.

Review: It's not often we pass on much trappy EDM to listeners at Juno, but Eprom is a special case, having made a name for himself for pushing the glossy post-dubstep trap style that made many artists like him famous. At the same time, Barclay Crenshaw (Claude VonStroke) is another name in the EDM world whose direction isn't quite the same as Eprom's, but nevertheless shares a space with the former artist for having also remixed Yung Skrrt's wilfully trashy hit 'McDonalds' of late. As both artists have dropped their respective cuts in many a DJ set all over the world, Skrrt's label DIRTYBIRD have now orchestrated a meeting of the two minds - not least to mention this juicy vinyl compilation of the two remixes.

Review: YUNGBLUD's hook-up with Lil Yachty is renowned amongst fans for its trippy production and tight, evocative, mind-melting bars. It has never before been on vinyl but this year's Record Store Day rights that wrong while serving it up with a superb, exclusive, introspective in-studio acoustic performance of the track. 'When We Die (Can We Still Get High?)' was first released on January 26, 2024 by Locomotion Recordings and Geffen Records and is a new school mix of alternative rock, psychedelia and hip-hop that explores themes of mortality and escapism with production by YUNGBLUD plus Matt Schwartz and Paul Meany. It's an introspective gem.

Review: No Fear of Time, the long-awaited sophomore album from the legendary hip-hop duo Black Star, is finally available in physical formats, including a stunning gatefold LP. After a digital-only debut in 2022, this release celebrates the dynamic collaboration between yasiin bey and Talib Kweli, who first captured hearts with their iconic 1998 album. Produced by Madlib, No Fear of Time showcases the duo's evolved artistry, recorded in diverse locations worldwide, including hotel rooms and backstage at Dave Chappelle's shows. The album's unique style flows seamlessly, with tracks like 'So be it' and 'Sweetheart. Sweethard. Sweetodd', igniting old-school vibes while addressing contemporary issues with sharp wit. With their powerful reunion, Black Star reaffirms their influential status in hip-hop, reminding listeners of the genre's rich cultural depth.

Review: Pierre-Alexandre Busson, a producer known for his multifaceted talents in both music and photography, steps further into his Destiino alias with a darkly ambient collection that stretches across downbeat house, industrial electronica and melancholic disco. Having made his name in the world of French electro, Busson's transition to Destiino was marked by an exploration of improvised compositions following his participation in a sound installation at the 57th Venice Biennale in 2017. This shift from his previous styles allowed him to dive deeper into moody, atmospheric landscapes. The current project, released under CHLOE's Lumiere Noire imprint, comes as a continuation of this artistic exploration, breaking from the dancefloor-driven energy of his past work to embrace a more introspective and expansive approach. Opening with 'Yokohama,' Busson sets a pensive tone, layering soft synths over a minimalist beat. 'My Crush' follows with a reflective yet upbeat mood, while 'Somlake' (feat. Inigo Vontier) weaves light, meditative textures. 'Transe Has No Speed' dives into dense atmospherics and 'Imagery' introduces a rhythmic, bodily groove. The second side offers 'Musique Electronique Repetitive,' using looping motifs to create a trance effect, while 'La Houle' brings fluidity and 'Morning Routine' soothes with its gentle vibe. 'Pulsar' (feat. Inigo Vontier) pulses with cosmic rhythms, and 'No Pain' closes with a melancholy, reflective note.

Review: Re-rendered in a stunning full-length form, the groundbreaking soundtrack to the 1988 anime film Akira is here remixed in full by individual members of Geinoh Yamashirogumi, the elusive Japanese music collective behind the original Akira OST. Founded in 1974 by musician and agricultural scientist Tsutomu Ohashi, Geinoh Yamashirogumi still to this day adhere to a loose ecology, comprising hundreds of people with different occupations. Recreating folk music along modern dance musical and electronic lines - terraformed folktronica, if you will - the original Akira soundtrack was innovative, drawing on such Japanese folk musics as gamelan and noh while merging them into. Spawning many later remixes across electronica and dance music, this fresh remix record is fully overseen by director Katsuhiro Otomo and tracks larger-than-life remixes from Makoto Kubota, Kuniaki Haishima and Yasuharu Konishi, ragtag but chosen members of Geinoh Yamashirogumi.

Review: YASMIN's much loved A Scent Of Flowers album has more than stood the test of time which is why it is now being reissued for the first time. It features the 90s r&b classic 'Wanna Dance' which has long been a staple in many mixtapes and dance compilations. This edition also includes a cover of Roy Ayers' ubiquitous 'Everybody Loves The Sunshine' which was the second successful single on the album which was first released in 1993. It's back by Soulshock who is known for his work with 2Pac and Monica, and Cutfather, famous for remixing Mark Morrison's 'Return Of The Mack.' Elsewhere on the record are many more killers including covers of 'Best Of My Love' and Ray Charles' 'Let Me Take Over.'

Review: Yetsuby is a solo project of South Korean artist Yejin Jang and a prolific one at that with six albums, seven EPs, and numerous singles to her name since 2019. Her recent album My Star, My Planet Earth won "Best Electronic Album of 2023" at the Korean Music Awards and now the NTS host follows up with a debut on Seb Wilblood's All My Thoughts label, which is a heartfelt mini album that explores deep emotions with real sonic alchemy. The six tracks range from the mesmerising opener 'Who Swallowed the Chimes at the Random Place' to the soothing 'The Sublime Embrace - Losing Our Way Is Not Wrong'. Both blend intricate rhythms with lush vocals and elegant brass to create celestial, immersive sound worlds.

Review: With a snaffled picnic basket under one arm and an MPC in the other, Yogi (AKA Sam Rose) invites us to "Jellystoned Park" to discover why he is smarter than your average beat-maker. It's the little-known producer's first solo set - or at least the first of his lone albums to be pressed onto vinyl - and an unassumingly impressive affair at that. Utilising a wide range of ear-pleasing samples (from quirky easy listening and AOR, to jazz, funk-rock and folk) and his own skittish, often off-kilter hip-hop beats, Rose delivers a series of short sketches, interludes and blink-and-you-miss-them workouts that tend towards the stoned, bleary-eyed end of the spectrum. The result is a hugely entertaining collection of instrumental hip-hop jams that's a cut above many of its competitors.

Review: Shinichiro Yokota's legendary discography finally arrives on vinyl with The Pitstop Box, featuring 24 essential and exclusive tracks. Originally available only in Japan via Far East Recording, this long-awaited collection highlights Yokota's signature blend of funk, hip-hop, electronic and Japanese influences. It features house classics like 'Right Here Right Now' and 'Night Drive', plus a cover of Haruomi Hosono's 'Simoon' and a collaboration with Soichi Terada that is packed with signature melodic sugariness. Inspired by his love for sports cars, The Pitstop Box is a brilliant overview of one of house music's finest talents..

Review: Yomm's upcoming EP showcases a unique blend of City-Pop with diverse influences, solidifying her as a standout figure in the contemporary music scene. This six-track collection includes the pre-release singles 'Hatsukoi,' 'Alice,' 'Miraco feat. Layone,' and 'Saratto Patto Pitto,' alongside two new tracks: 'Hon de Yomitake,' penned and arranged by Kiseru's Gobun Tsujimura, and 'Scramble - Tokyo,' written and composed by yomm herself. A new project by Korean singer-songwriter and model Choi Jung-yoon, Yomm has quickly gained attention since its launch in April, with contributions from notable artists like Shota Araya (formerly of yonawo), Motoi Kawabe (Mitsume) and Jin Ono. The EP showcases yomm's ability to blend City-Pop with modern elements, creating a sound that feels both nostalgic and innovative. With its eclectic mix of styles and top-tier collaborations, this EP is set to be a refreshing addition to the evolving City-Pop genre.

Review: With their Mercury-winning 2014 debut 'Dead', Edinburgh trio Young Fathers set the bar high for themselves, which they met with 2015's follow-up 'White Men Are Black Men Too', and continue to do so with new album 'Cocoa Sugar'. Their third record isn't as brash and in-your-face as their previous two, but that's not to say that this any less impactful, instead 'Cocoa Sugar' is a stripped back, concentrated The group have a unique ability in that they can draw elements from a range of genres, with an outcome sounding in a class of its own and tantalisingly hard to define. Also, in their use off-kilter loops, gospel-esque vocals, haunting samples and breakneck speed verses, Young Fathers create dualities and contrasts that playfully subvert. Tracks like 'See How', 'In My View' and 'Lord' appear to tread into joyous and cathartic pop territory, before being pinned down by unnerving scraping samples and dissonant synthesis. It's these intelligently executed sonics and structures that make 'Cocoa Sugar' an addictive, thrilling and beguiling listen.

Review: It can be something of a surprise to know that Young Gun Silver Fox hail from modern-day London, as the sound of this album couldn't be more '70s-tinged and Californian if it was sporing sideburns, reefer-in-hand and discussing the Watergate scandal. Redolent of the like of Steely Dan, The Doobie Brothers and even The Eagles, 'West End Coast' thankfully has chops and talent to stand as much more than a mere retro curiosity or museum piece - ditties like 'You Can Feel It' and 'In My Pocket' channel vocalist Andy Platts' falsetto croon, heavenly harmonies and AM radio production to considerable satisfaction for all.

Review: Slime Season 3 is the third mixtape by American rapper Young Thug and it was initially released on March 25 back in 2016. Continuing the Slime Season series, the mixtape features Thug's signature blend of eccentric delivery and melodic flows which now stand alone within the trap genre. Highlights include standout tracks like 'With That' and 'For Ya'll' where Thug combines inventive wordplay with hard-hitting beats. While it wasn't initially available in the UK on vinyl, Slime Season 3 solidified Thug's influence in the hip-hop world and got praise for its and boundary-pushing approach to trap.

Review: The original entry in the Slime Season series from Yung Thug is a mixtape filled with highs and lows. While the rapper showcases his eccentric style and talent, the compilation feels like a patchwork of unfinished ideas. Some tracks are fast-paced while others, like 'Hey I' and 'Best Friend' shine as highlights. Thug's strongest songs display subtle, carefully structured melodies, and many have high replay value, especially the opening tracks. Despite this, the mixtape features standout moments, such as 'Draw Down' and 'Wood Would' which demonstrate his lyrical unpredictability and emotional depth and remind why Thug is so revered in trap.

Review: Over the last 12 months, Adrian Younge and A Tribe Called Quest member Ali Shaheed Muhammad have been inviting some legendary musicians to swing by the former's Los Angeles studio to make fresh tracks with vintage equipment. The results are detailed on "Jazz Is Dead", a superb album that combines elements of dusty soundtrack jazz, soul, jazz-funk, Latin jazz and head-nodding live beats influenced by the duo's hip-hop roots. Highlights include the atmospheric, slow-motion warmth of Roy Ayers collaboration "Hey Lover", the floor-rocking fusion heaviness of epic Azymuth hook-up "Apocaliptico", the languid sweetness of 'Down Deep" (featuring Doug Carn) and the samba-soaked sunshine that is Marcos Valle composition "Nao Saia Da Praca".

Review: Your Old Droog emerges with Movie, an introspective exploration that marks a significant evolution in his career. Cloaked in anonymity a decade ago, the Ukraine-born rapper has since carved a niche for himself in hip-hop, showcasing his sharp lyricism and distinctive style. The album's title derives from a nostalgic phrase from his childhood, symbolising moments of unexpected joy. With features from Method Man and Denzel Curry, alongside production from industry heavyweights like Madlib and Just Blaze, Movie is both engaging and emotionally resonant. Tracks like 'A Damn Shame' highlight his vulnerability, while 'Mantra' delves into his immigrant experience. Droog balances introspection with a playful edge, as seen in the catchy 'Yodi Dodi'. His storytelling shines on 'The Sandbox', addressing poignant themes of struggle. Ultimately, Movie stands as a layered masterpiece, affirming Droog's status as a thoughtful artist ready to embrace the spotlight.

Review: When Your Old Droog first emerged in the hip-hop scene, he was shrouded in mystery. Born in Ukraine and raised in Brooklyn, he became known for his sharp lyrics and distinct, gritty delivery. His self-titled debut marked the beginning of a prolific career and quickly established him as an underground force with mainstream appeal. Over the years, Droog has gained widespread recognition and earned co-signs from hip-hop legends. With his latest project Movie, he embraces a new chapter by collaborating with Method Man, Denzel Curry, and producers like Just Blaze and Madlib to showcase the full range of his artistry and personal journey.

Review: Swedish-Japanese vocalist Yukimi Nagano (best known as the lead singer of the post-punk and electronica group Little Dragon) shares her debut album on Ninja Tune, embodying the best of her charms as a solo artist whose space away from the band allows her ample time to reflect on her own emotions. Born of the first production 'Sad Makeup' - a song about the inevitably, always-botched attempt to suppress and sweep sad feelings under the rug, and the ways this backfires when around close friends - the entire album in fact threads a narrative yarn centring on the overcoming of "darkest nights", externalised in the repeated mention in the lyrics of Sweden's long, dark and shivery winters. Taking cues from everyone to filmmaker Ingmar Bergman to collaborator Lianne La Havas, Nagano wears her vulnerability on her sleeve.

Review: Yuna's self-titled debut album came with three tracks produced by none other than Pharrell Williams. That was a decade ago when she was just 24 years old and one of the hottest properties in the scene. Freshly signed to Fader for the album, it was a great showcase of the young singer's voice across a mix of sounds that took in r&b, soul and pop with a mature edge and moving emotional narrative. It was initially only put out on CD but a decade on that is corrected as Fader drop this vinyl version just in time for Christmas.

Review: To the best of our knowledge, Sweden does not have a particularly active cloud rap scene, though Stockholm's Yung Lean has been delivering notable albums in the Deep South-pioneered style for the best part of seven years. Of course, as new album Starz shows, his typically lo-fi, pop-tinged take draws just as much from frowning EMO rock as it does from, say, crunk or classic cloud rap. He's undoubtedly good at what he does and Starz boasts plenty of highlights, not least the fragile sweetness of 'Outta My Head', the auto-tune sporting 'Acid at 7/11', surprise Ariel Pink hook-up 'Starz' and the impressively heavy 'Boylife in EU'.

Review: Featuring a stellar lineup of guest artists including Boldy James, Kool Keith, Grip, Blu, Fatboi Sharif and more, here's an album that truly showcases a seamless synergy between Real Bad Man's atmospheric production and YUNGMORPHEUS's captivating lyricism. From the stony and atmospheric ambiance to the funky undertones, each track on the album offers a unique sonic experience that pushes the boundaries of traditional hip-hop. Real Bad Man's meticulous attention to detail in tailoring the beats to complement YUNGMORPHEUS' flow is evident throughout the project, resulting in a cohesive and engaging product. YUNGMORPHEUS's introspective lyrics delve into themes of dichotomies and self-reflection, adding depth and substance to the album's narrative. Tracks like 'Tripleback Tuck,' 'Just The Three of Us,' and 'Flick of The Wrist' showcase his lyrical prowess and ability to effortlessly navigate complex subject matter. With The Chalice & The Blade, Real Bad Man and YUNGMORPHEUS have crafted an album that transcends genre conventions, delivering a thought-provoking and sonically rich experience that is sure to resonate with fans of innovative hip-hop.