Back catalogue:

Review: Ceremonie hail from France and have an '80s-inspired sound that hits differently. Their songwriting reaches new levels and draws on well-chosen, well-designed sounds with a wonderful sense of melancholy and just the right balance of drama and subtlety. After an indie-pop leaning cassette a few years ago they now land on Enfant Terrible with a contemporary take on retro new wave and synth-pop. Three of the tunes are originals, one is a cover of French 1980s new wave band Message and there is a whole new album in the works, apparently. Great stuff.

Review: Acclaimed Japanese artist Cornelius is back with a new three-song EP, Bad Advice/Mind Train, featuring a collaboration with Arto Lindsay. The EP's first single, 'Mind Train,' is an epic nine-minute track inspired by Yoko Ono which blends ethereal space-pop with minimalist structures and bursts of exhilarating chaos. Cornelius describes 'Mind Train' as a symbol of spiritual and inner exploration that is designed to prompt self-reflection. The accompanying video, created by renowned visual stylist Keita Onishi, enhances this journey with stunning retro-futuristic graphics that allow you to explore your own interpretations.

Review: The third album by Parisian trio Moody Moon is a vitreous ten-tracker spanning all their usual hallmarks: gothic dream pop, alt-rock, and two more relatively self-starting coinages, sky wave and surf psych, all combining to produce the feeling of being left out in the contemporary cold. With frankly effected, almost bare-naked vocals, channelled through inner-monologuing lyrics shared between multiple members and a papery approach to production, this is a vulnerable album, perverting many of the most established norms and expectations that abound in alt-pop music today, especially in its retro-future-gothic stylistic milieu.

Review: Chase Atlantic's fourth album offers a more mature sound than previous LPs while exploring themes of loneliness, depression and fear. The title reflects the paradox of being in an ideal place yet feeling miserable and the music showcases the band's evolution into a fusion of pop, rock and r&b in their signature genre-defying style. The lead single quickly gained popularity by amassing millions of streams and views and follow-up 'Doubt It' continues the trend with addictive melodies and fresh sounds. Although Chase Atlantic pushes boundaries here, their original fans will still remain happy with the signature energy of this album.

Review: The third full length from Hawaii-born, LA producer singer/producer Jess Labrador, operates in a sweet pot between the dreamy and the nightmarish, atmospheres shifting without warning and genres fused and abused, particularly focussing on joining the dots between between electronics and classic songwriting. Labrador's sonic skills - her day job is as a professional mastering engineer - is very much evidence on what is her first almost completely DIY production, with every note and frequency in its place for maximum devastation and emotional resonance.

Review: Shoegazers and experimental outfit Cloudland Canyon blend ambient, drone, krautrock, psychedelic, house music into their own unique tapestries. The band, led by Kip Uhlhorn, is now back with this new self-titled album which his another widescreen exploration of the cosmic sonic realm. The band is now more than 20 years into their career and for this one embraced the future by collaborating with AI. This allowed them to generate and create "compositions that sound like they are meant for an alternate realm where both beauty and suffering are both present, but not at odds with one another."

Review: The Moon and the Melodies, a remarkable collaboration between Cocteau Twins and ambient pioneer Harold Budd, remains a standout achievement in both artists' repertoires. First released in 1986, this enchanting album is now receiving a well-deserved vinyl reissue, meticulously remastered by Robin Guthrie from the original tapes. This album is a stunning fusion of the Cocteau Twins' signature dreamlike atmospheres with Budd's elegant, improvisational piano, resulting in a listening experience that is both expansive and deeply personal. The blending of Elizabeth Fraser's ethereal vocals, seamlessly intertwined with Guthrie's luminous guitar work and Raymonde's resonant bass, creates a sound that is both distinct and evocative. The album effortlessly balances vocal tracks with instrumentals, each adding to its rich and diverse sonic palette. This reissue offers a chance to rediscover a defining moment in the evolution of dream pop and ambient music. The Moon and the Melodies continues to stun audiences. This CD edition is the perfect vehicle to an ethereal beauty of the highest order.

Review: The Moon and the Melodies, a collaboration between Cocteau Twins and ambient pioneer Harold Budd, stands as a unique gem in both artists' discographies. Originally released in 1986, this ethereal album is now being reissued on vinyl, remastered from the original tapes by Robin Guthrie. Unlike anything else the Cocteau Twins ever produced, this record blends their dreamlike soundscapes with Budd's serene, improvisational piano work. The result is an atmospheric journey, at once intimate and expansive. Tracks like 'Sea, Swallow Me' shine with Elizabeth Fraser's otherworldly vocals, intertwined with Guthrie's shimmering guitar and Raymonde's grounding bass, creating a sound that feels both familiar and entirely unique. Instrumentals like 'Memory Gongs' and 'The Ghost Has No Home' highlight Budd's delicate piano, enhanced by the band's signature ambient textures. The album is a study in contrasts, vocal tracks sit alongside instrumentals, each contributing to a cohesive yet diverse listening experience. For fans, this reissue is a chance to revisit a pivotal moment in the evolution of dream pop and ambient music. The album's enduring appeal is evident in its continued influence in social media. The Moon and the Melodies remains a shining light that can happen when artists from different realms come together to create something truly timeless.

Review: This reissue of the 1981 self-titled album from the cult Japanese duo Colored Music is now made available on vinyl for the first time since its original release. This groundbreaking mix of cosmic new wave, avant-garde synth-pop, experimental funk and unconventional disco is wonderfully unique and is reminiscent of David Bowie's Berlin Trilogy with a psychedelic Haruomi Hosono touch. Featuring celebrated musicians like Mansaku Kimura and Shuichi "Ponta" Murakami, Colored Music delivers an unparalleled, otherworldly soundscape that belies it ages.

Review: COMA has always operated in a world where melody is in high supply and indie and electronica have collided in fresh new ways. The artist is not one to hide away from a big hook or a pop tip line and always manages to imbue their work with tons of emotion. This new album is another step forward that investigates sonic realms ask just how broad the scope of club music can really be. That means Fuzzy Fantasy is in many ways a departure from all-out dance floor focus into something more human and nuanced.

Review: If you missed The Comet is Coming's brilliant debut album, Channel The Spirits, first time around, help is at hand. Happily, the Leaf label has decided to reissue the Mercury Music Prize nominated album, expanding it to two discs via the addition of 2015's similarly sublime Prophecy EP and a trio of previously unheard wig-outs. The genius of the London combo's music lies in their unique and eccentric approach to musical fusion. While their roots lie in fusing spiritual jazz and freaky psychedelic rock, keen listeners will hear a myriad of other influences and inspirations seeping into their distinctive instrumental compositions, from spiraling electronica, Afrobeat and skewed funk, to ambient, dub, drum and bass, Roots Manuva and low-slung industrial funk.

Review: Confidence Man's third album, 3AM (LA LA LA), captures the wild energy of London's club scene and the 90s rave culture, blending euphoric dance beats with a darker undercurrent. Written during late-night studio sessions, the album pulses with breakbeat, trance, and techno influences, pushing their sound into bolder, more intense territory. Tracks like 'I Can't Lose You' and 'So Whay' hit with fierce, rave-ready energy, while vocalist Janet Planet's playful lyrics echo the spontaneity of a night out. The group's penchant for theatricality and fun comes alive in their live shows, full of synchronised dance moves and chaotic party vibes. Compared to their lighter 2022 album Tilt, 3AM (LA LA LA) is a wilder, harder experienceia hedonistic celebration that reflects the delirious, sweaty-ceilinged clubs. It's Confidence Man at their boldest, offering an electrifying escape.

Review: Confidence Man's third studio album, 3AM (LA LA LA), reimagines 90s UK rave sounds with a pop twist. Inspired by their recent move to London, encounters with KLF and immersion in the queer club scene, the duo captures the essence of hedonism and ecstasy in a euphoric soundscape. The album traverses the electronic spectrum with breakbeat, trance and Underworld-sized techno infused with the punk energy of legacy acts like The Prodigy. Following their successful second album Tilt, which included the festival favourite 'Holiday, 3AM (LA LA LA) is a bold and exhilarating escape into Confidence Man's vibrant world

Review: Confidence Man's relocation from Australia to London has ignited a new era with their upcoming third studio album, 3am (La La La). Embracing their signature audacity, the duo - Janet Planet and Sugar Bones - have crafted an album that dives deeper into the realms of hedonism and euphoria, fueled by their nocturnal creative sessions. Describing the album as "darker, sexier, and more surreal," Confidence Man blend 90s and 00s UK rave influences with a contemporary edge, with tracks like 'I Can't Lose You' and 'Real Move Touch' (featuring Sweetie) Irie exuding an infectious energy that spans breakbeat, trance, and techno, echoing the punk spirit of legends like The Prodigy. Inspired by encounters with idols like KLF and immersion in London's queer club scene, 3am (La La La) promises to be a sensory trip through pulsating beats and unbridled creativity. It follows their acclaimed sophomore release TILT and collaborations that have expanded their sonic palette. This album introduces their wild, irrepressible spirit to a wider audience, offering an exhilarating escape from the mundane into their eccentric and exhilarating universe.

Review: Cornelius is the work of Japanese multi-instrumentalist Keigo Oyamada and he returned last year with the highly anticipated album Dream in Dream, his first full-length release since 2017's Mellow Waves. By blending avant-garde jazz, soulful r&b and psychedelic electronics, the album creates a breezy, sun-soaked soundscape and after that Cornelius gained international fame with Fantasma, which was standout for its cut-and-paste style akin to Beck and The Beastie Boys. Often compared to Brian Wilson for his intricate production, Cornelius has worked with artists like Blur and MGMT and Dream in Dream continues his innovative work with angular guitars, lush synths, and syncopated drums for a bright yet contemplative sound.

Review: For his seventh studio release 'Dream in Dream', Cornelius (Keigo Oyamada) continues his genre-hopping streak, carving out new space for his sonic explorations. Best known for shaping Japan's alternative music scene and crafting intricate soundscapes, Oyamada's latest effort is a hazy, rhythmically adventurous blend that flirts with ambient jazz, r&b, and a dash of retro-futurist electronics. His knack for blending disparate elements into something cohesive remains intact. Opening the record, his signature use of angular guitars and tight synth layers dances around syncopated beats, pulling listeners into a dreamlike groove. But there's more at play than surface-level nostalgia or easy listening. While many might remember the cut-and-paste genius of 'Fantasma', or his remixes for artists like Blur and MGMT, here Oyamada seems more interested in texture and atmosphere than in outright hooks. Despite a nod to 70s synth influences, this isn't a direct callback to any specific era. 'Dream in Dream' unfolds like a wandering conversationiimprovised in parts, yet controlled in its overall direction. The songs balance bright, airy tones with moments of contemplation, capturing the warmth of the past while remaining firmly planted in today's soundscapes. A steady, thoughtful progression for Cornelius, offering something both familiar and unexpected.

Review: The cult favourite Dark Entries hits 15 in style here and celebrates in the only way it knows how - with more great music. This time it is the legendary synth-punk yahoos Crash Course in Science aka Dale Feliciello, Mallory Yago, and Michael Zodorozny who are in the spotlight. The group formed back in 1979 and set out to make music using toy instruments and kitchen appliances. Their punk-y, aggressive, angular sound soon found a hardcore fan base and gave rise to big tunes like 'Cardboard Lamb' and 'Flying Turns.' In 1981 they recorded Near Marineland, a full-length that never actually saw the light of day but does now and shows the band moving into more diverse and polished territory.

Review: Charles Rowell stops off for another release under his Crush Of Souls moniker, hammering yet another gothic sonic nail in the coffin. Recorded at the aptly named Catacomb Soul studios, where he had recently finished recording the antecedent release '(A)Void Love', Rowell's latest LP is dedicated to the French capital city Paris, but we've a sense that *his* Paris isn't *our* Paris. There are of course catacombs in Paris, subjacent to the metropolis' surface romances. With the LP's title punning on French words for "lizard" and "desire", a lustily unnerving synthpop record unfolds, and this is one mood requiring only the slightest touch of grimness to evoke: such as pitchy, drawled vocals on the otherwise glittery and well-rounded 'Cult Of Two', and eighteenth note tenebrae on 'No Soul', serving to bury an otherwise melodic tune in hollow chaos.